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農村演劇運動の思想的系譜と展開過程―宮澤賢治の芸術論と長瀞村の戦後青年文化運動―
https://doi.org/10.34444/00000109
https://doi.org/10.34444/0000010959cd15ca-3d4c-45ed-99c5-de32a3c0cb54
名前 / ファイル | ライセンス | アクション |
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031030_sk04_02.pdf (3.8 MB)
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Copyright © 農林水産省 農林水産政策研究所
Policy Research Institute, Ministry of Agriculture, Forestry and Fisheries, Japan |
Item type | 学術雑誌論文 / Journal Article(1) | |||||
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公開日 | 2020-03-23 | |||||
タイトル | ||||||
言語 | ja | |||||
タイトル | 農村演劇運動の思想的系譜と展開過程―宮澤賢治の芸術論と長瀞村の戦後青年文化運動― | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Thoughts and its Changing Process of Theatrical Movement in Rural Area : A Case Study of Kenji Miyazawa's View of Art and the Activities of Young Men's Circles and Association in NAGATORO Village | |||||
言語 | ||||||
言語 | jpn | |||||
資源タイプ | ||||||
資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||
資源タイプ | journal article | |||||
ID登録 | ||||||
ID登録 | 10.34444/00000109 | |||||
ID登録タイプ | JaLC | |||||
著者 |
相川, 良彦
× 相川, 良彦 |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | 山形県長瀞村の戦後の農村演劇運動は宮渾賢治の芸術思想を起源とする。それは資本主義により独占され偏向された近代芸術を,地域庶民の手に取り戻し,生活に根ざした生命力を吹き込むことによって蘇えらせようと主張していた。この芸術思想は,戦前において,その教え子・松田甚二郎による演劇活動を核とした村づくり運動として山形・最上で実践された。戦後において演劇は,生活記録運動のリーダー・国分一太郎の教え子と松田の演劇活動に触発された青年たちが出会って,サークル活動として蘇った。青年サークルや青年団がその活動基盤であった。それら諸組織にとって演劇は,成員の連帯強化には役立つが,資金と労働の負担が障害だった。そのため演劇の担い手は組織の連帯強化と資金難との衝突によりしばしば入れ替わった。演劇内容としては,農村演劇はテーマの追求と娯楽性との二兎を追って展開してきた。だが,青年諸組織の解散と共に,それらを活動基盤とした農村演劇も消滅した。 本論は,民衆芸術としての演劇思想は誰により唱えられ,どのような内容のものであったか,その思想は如何なる社会条件と結合し演劇へと具体化されたか,演劇活動に栄枯盛衰をもたらした社会経済的条件とは何であったか,を主として演劇運動の担い手たちの証言により明らかにするものである。 |
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言語 | ja | |||||
抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | Kenji Miyazawa (1896-1933) proposed that the modern arts monopolized and biased by capitalism should be returned to the hands of the ordinary people and be restored by adding life force and vitality to them. In his thoughts can be clearly observed a strong influence of the democracy movements of the Taisho Era (1912-1926), which coincided with his adolescence, and the popular art theories stimulated by those movements. The post-war rural theatrical movement in Nagatoro, Yamagata Prefecture, had its origin in Miyazawa's thoughts on the arts. Before the war, Jinjiro Matsuda, who had learned Miyazawa's ideas on the arts from Miyazawa himself, started theatrical movements of young farmers as a means of rural development. These movements were revived in the post-war years as circle activities with the help of students of Ichitaro Kokubu, the leader of a life recording movement, and the young people provoked by Matsuda's theatrical movement. This group activity was supported by local youth circles and associations. To these circles, staging was helpful in building solidarity among members but was an obstacle because it required large funds and much labor. Thus, owing to the collision of the need to strengthen the ties among members and the difficulty of financing, members engaged in staging work were often replaced by new ones. The rural theatrical movements pursued both an ideal and the provision of entertainment. But as the young people's circles and associations were dissolved one after another, the rural theatrical movement based on these organizations disappeared. At present, this area has three theatrical groups, which are specializing in a direction that strengthens the aspects of enlightenment or art. |
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言語 | en | |||||
書誌情報 |
ja : 農林水産政策研究 en : Journal of Agricultural Policy Research 号 4, p. 27-51, 発行日 2003-10-30 |
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出版者 | ||||||
言語 | ja | |||||
出版者 | 農林水産省 農林水産政策研究所 | |||||
ISSN | ||||||
収録物識別子タイプ | ISSN | |||||
収録物識別子 | 1346-700X | |||||
書誌レコードID | ||||||
収録物識別子タイプ | NCID | |||||
収録物識別子 | AA11614280 | |||||
著者版フラグ | ||||||
出版タイプ | VoR | |||||
出版タイプResource | http://purl.org/coar/version/c_970fb48d4fbd8a85 |