坪内逍遥の史劇改良

• 영문명: The Re-invention of Historical Plays and Theatrical Customs in Tsubouchi Shōyō’s Kiri hitoha: Breakaway from theatrical customs in Kiri hitoha
• 발행기관: 고려대학교 글로벌일본연구원
• 저자명: 김지혜(金智慧)(Kim, Jihye)
• 간행물 정보: 『일본연구』第38輯, 103~130쪽, 전체 28쪽
• 주제분류: 사회과학 > 지역학
• 파일형태: PDF
• 발행일자: 2022.08.31

국문 초록

坪内逍遥は史劇改良のため､『桐一葉』『牧の方』『沓手鳥孤城落月』の三部作を創作しており､そのうち『桐一葉』(明治27~28年)は最初の試作でありつつ､初めて実演が叶った作品である点で大いに意義がある｡従来の研究では､｢小説神髄｣｢我が国の史劇｣など逍遥の言説に基づき､『桐一葉』が｢人情｣を写し､一人間の性格より境遇に翻弄される運命の悲劇を描く｢境遇史劇｣であると指摘するものが多く､日清戦争という成立時の時代背景とシェイクスピア劇からの影響に注目したものもある｡これらは『桐一葉』の創作動機や意義を考える上で有効であるものの､やや抽象的な指摘に留っており､逍遥がいわゆる｢旧劇｣(従来の歌舞伎)の如何なる部分を糾そうとしたかまでは明確に示していないと考える｡ 本稿では史劇観に関する逍遥自身の言説とそれに対する先行研究の成果を踏まえる傍ら､とりわけ出版直後の評論に書かれた批判に着目し､『桐一葉』の再検討を行う｡批判の大半は片桐且元､蜻蛉の曖昧な性格や微温的態度､そして正栄尼､渡辺内蔵といった善悪·忠不忠の模糊たるキャラクター造りにあったが､そのような曖昧模糊たる趣向こそ歌舞伎の<型>､すなわち活歴風の典型的な英雄·賢女像と一面的な人物造形から脱皮するための手法であった｡さらに､逍遥が心血を注いで構想した吉野山桜狩の夢の場の場合､在来の夢の場が実は夢ではなく演劇的装置に過ぎないという問題意識に基づくものであり､不条理で理屈に合わない夢の本来の性質に忠実した夢の場を創り出すことで､歌舞伎劇における夢の<型>を超克しようと試みた｡以上の如く､本作の全体にわたり見られる｢旧劇｣の形式や通念に対する転覆の精神は､逍遥が目差した史劇改良の骨子であったと考える｡

영문 초록

Tsubouchi Shōyō composed the three works Kiri hitoha (A Leaf of Paulownia), Maki no kata (Lady Maki), and Hototogisu kojō no rakugetsu (A Sinking Moon over the Lonely Castle Where the Cuckoo Cries) with the intention of re-inventing historical plays through the kabuki genre. In particular, Kiri hitoha, serialized in the magazine Waseda bungaku from November 1894 to September 1895, is a highly significant work as it was not only the starting point of this effort but also the first of Shōyō’s plays that was premiered in the kabuki theater. In previous research, it has been argued that Shōyō attempted to depict emotion (ninjō) and to focus on portraying the tragedy of characters who are tormented by fate rather than the personality of individuals. He named this form of drama “the circumstance tragedy” (kyōgu higeki) in Kiri hitoha, referring to his treatises Shosetsu shinzui and Wagakuni no shigeki. On the other hand, some studies have examined the influence of contemporary issues such as the Sino-Japanese War, and of iconic literature such as Shakespeare’s dramas, on the play. Although these perspectives are useful for analyzing the play, they seem obscure, and they do not indicate clearly what elements of so-called “traditional kabuki” (kyūgeki) that Shoyo tries to re-imagine. In this paper, I clarify how Shōyō attempts to implement his own philosophy in the re-invention of historical plays by referring to his commentaries and to critiques by contemporary literary figures, and by analyzing the characters in Kiri hitoha in terms of the way they subvert or escape conventional patterns or forms (kata). For example, most criticism has been directed at the ambiguous personalities of the protagonists Katagiri Katsumoto and Kagerō, as well as at the undecidability of the good or evil of the supporting characters, the nun Shōeini and Watanabe Kuranosuke. However, Shōyō endeavors to break away from institutions in the field of kabuki and the conventions of historical plays by employing these unorthodox characters. Meanwhile, he criticizes the dreams in traditional kabuki for not being genuine, but instead a foreshadowing of the drama, making them merely devices and not organic. To overcome this, he attempts to create a realistic and pure dream, absent theatrical calculation, in the form of Yodogimi’s nightmare. To sum up, throughout Kiri hitoha the spirit of overthrowing the formality and conventions of traditional kabuki plays is the essence of the re-invention of historical dramas that Shōyō aims for.

목차

Ⅰ. はじめに

Ⅱ. 逍遥の史劇観

Ⅲ. 『桐一葉』の創作と批評

Ⅳ. キャラクター造りにおける<型>の破壊➀：片桐且元､蜻蛉の場合

Ⅴ. キャラクター造りにおける<型>の破壊➁：正栄尼､渡辺内蔵介の場合

Ⅵ. ｢現｣と隔たる夢 : 吉野山桜狩の夢の場

Ⅶ. おわりに

키워드

坪内逍遥 桐一葉 我が国(邦)の史劇 歌舞伎 演劇改良 Tsubouchi Shōyō Kiri hitoha (A Leaf of Paulownia) Wagakuni no shigeki (Historical Plays in Our Country) Kabuki Theater Reform Movement