紀要論文

紀要論文

text

フィロカリア. 2025, 42, p. 35-49

大阪大学大学院人文学研究科　芸術学専攻

日本語

text

2025-03-27

The aim of this paper is to examine the way in which Émile Jaques-Dalcroze’s (1865-1950) Eurhythmics, which can be seen here and there in the Meiji and Taisho periods, was received in Japan. Dalcroze’s Eurhythmics had a great influence on the physicality and expression of modern theatre artists, and in Japan, it was mainly developed in the field of music education based on the research and practice of Sōsaku Kobayashi from 1923 onwards. However, the terms ‘Dalcroze’ and ‘Eurhythmics’ can be found in the discourses of people involved in the theatre world in the early days before 1923. From this, it is clear that Eurhythmics was imported to Japan before 1923. If we consider that the focus was not on music education methods, but rather on the training methods used to acquire the physicality and expression methods that the theatre people of the time were seeking, then it is thought that it would be worthwhile to consider the reception of Eurhythmics in Japan during this period. In this paper, we have examined the reception of Eurhythmics in Japan during its early days through documentary research, and have been able to identify its unique points. In Japan during its early days, the practice and theory of Eurhythmics were arbitrarily imported according to the subjective intentions of each recipient. Even if we consider that the purpose and theory of Eurhythmics were not fully imported due to issues such as the time required to fully master them, language problems, and cultural background, we must continue to consider the acceptance of Eurhythmics in accordance with the abilities of the second-generation Ichikawa Sadanji as a Kabuki actor.

101326

近代日本におけるリトミック受容についての一考察 : 白井規矩郎著『韻律體操と表情遊戯』の文献考証を中心として

井上, 美佳

大阪大学大学院人文学研究科　芸術学専攻

日本語

2025-03-27

フィロカリア

42

35

49

https://hdl.handle.net/11094/101326