File:NDL1145817 能の再生 part1.pdf

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Summary

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能の再生   (Wikidata search (Cirrus search) Wikidata query (SPARQL)  Create new Wikidata item based on this file)
Author
野上, 豊一郎, 1883-1950
image of artwork listed in title parameter on this page
Title
能の再生
Publisher
岩波書店
Language jpn
Publication date

1935

昭和10
Place of publication JP
Source

doi:10.11501/1145817

institution QS:P195,Q477675
Creator
InfoField
野上豊一郎 著
Publication Place
InfoField
東京
Subject: NDC
InfoField
773
Extent
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338p ; 23cm
Material Type
InfoField
Book
Source Identifier: JPNO
InfoField
47016715
Date Digitized: W3CDTF
InfoField
2010-03-31
Audience
InfoField
一般
Title Transcription
InfoField
ノウ ノ サイセイ
Publisher Transcription
InfoField
イワナミ ショテン
Source Identifier: NDLBibID
InfoField
000000770257
Call Number
InfoField
773-N93-4ウ
Creator Transcription: NDLNA
InfoField
ノガミ, トヨイチロウ
Creator: NDLNAId
InfoField
00056111
Contents
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標題

目次

能の寫實主義と樣式化/1p

一、 自由精神と形態の樣式化。假面と服裝に現はれた樣式化。超自然の人格化に示された表現法の標準。世阿彌の寫實主義。

二、 表現の樣式化の要因。社會的環境からの樣式化。能の構成そのものからの樣式化。技術的專門化から結果する樣式化。樣式化の末梢的徴候。

三、 扮裝に現はれた樣式化の實用主義。「加茂」と「竹生島」。

四、 再び能の寫實主義。自己を基準としての表現。

扮裝の樣式化と自由精神/27p

一、 假面使用と自由精神。服裝制定と自由精神。

二、 寫實に率先した表現。タイプの完成と樣式化。「高砂」と「八島」の扮裝の對比。創造者の想像力と鑑賞者の感受性。

三、 樣式化の一例としての前ジテの老翁と後ジテの老翁。

四、 扮裝の事務化とそれに對する反抗。新鮮と自由への復歸。

能の幽靈/54p

一、 能を正しく理解するための舞臺的表現の知識。

二、 能の幽靈の概念。能の本格的幽靈。痩女の面と痩男の面。アヤカシの面。幽靈と惡鬼。

三、 ワキ僧の幻覺としての後ジテ。

四、 ツレ女の幽靈。子方の幽靈。「隅田川」の幽靈に關する世阿彌父子の論爭。

五、 能の幽靈の人間味。幽靈を主役とすることに於ける能の特長。

能と敬老思想/80p

一、 シテの中入の必要とされる理由。中入に依つて分たれる前段と後段の構成。

二、 前ジテと後ジテと同一性格であるものの分類。

三、 前ジテの老翁についての考察。その種類。尉殿の人氣。

四、 知識の貯藏者・傳統の保存者としての老翁の信頼。老翁の親愛と諧謔。三光尉・朝倉尉・笑尉の老翁。誤解された諧謔の作意。「翁」の例。

五、 誤解された作意の別の例。前ジテの老翁と敬老思想。能の遊戲精神と耽美主義的表現。

能と日本主義思想/110p

一、 神國日本の觀念。亂世無秩序の不安から能の耽美主義への逃避。能の古典的修飾。中華尊崇の風潮。

二、 日本主義的意識を以つて作製された能。「絃上」「白樂天」「春日龍神」「是界」。

合唱歌の非戲曲的性質/120p

一、 能とギリシア劇の比較。ギリシア劇の合唱歌。合唱歌の衰退と對話の發達。

二、 ギリシア劇の合唱歌の衰退の理由。

三、 エウリピデスの合唱歌無視。

四、 能の音曲的構成の分解。能の合唱部の重要性。

五、 ワキの成長と對話。能の戲曲的發展の妨害者としての合唱歌。謠物の遺物としての能の形式。

能の局面區分法/147p

一、 能の脚本としての謠曲。現行謠本の舞臺操作的不備。

二、 能の演出に於ける局面變化の自由。作物の效用。演出の自由精神。主役一人主義と二人對立主義。ワキの進出。

Licensing

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Public domain
According to Japanese Copyright Law (June 1, 2018 grant) the copyright on this work has expired and is as such public domain. According to articles 51, 52, 53 and 57 of the copyright laws of Japan, under the jurisdiction of the Government of Japan works enter the public domain 50 years after the death of the creator (there being multiple creators, the creator who dies last) or 50 years after publication for anonymous or pseudonymous authors or for works whose copyright holder is an organization.

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