今朝嬉しいニュースがやってきた。大阪大学で今年初めて開催される世界的な演劇学会の大会での研究発表が受理されたとの連絡である。メインテーマが伝統、革新、コミュニティーゆえに、是非沖縄の組踊について発表したいと考えていて、今回伝統の活性化と地域の関係において大城立裕氏の新作組踊について取り上げることにした。すでにその９作が上演され、【海の天境】はわたしも同行したが、アメリカのＬＡでも上演された。「遁ぎれ結婚」「山原船」は東京でも公演された。すでに全１９作が創作されている。大城氏は２０作に挑戦されているとお聴きした。２０作目も楽しみである。おそらく小説とも異なり、詩劇の組踊は共同体の共有する集合的無意識や夢があふれる芸術である。そこに地域の共同体の文化的アイデンティティーのコアになりえるものが潜んでいる。詩劇の中にこめられた韻文(台詞）、音楽、身体表象、リズム、イメージ、テーマはその地域の独特な感性の土壌の上に成り立っている。
可能な限り８月の発表までに大城作品のいくつかを英語に翻訳してそれも冊子として紹介したいと以前から考えている。それに向けて始動！あるのみ。
発表の英文概要を紹介したい。
この学会には通訳はつかず、すべて英語で研究発表&質疑がなされる。
詳細は以下のサイトからご覧ください！
FIRT/IFTR大阪大学International Federation for Theatre Research
<Tradition, Innovation and Community>
Category: General Panel
Title of Paper: Tastuhiro Oshiro’s New Kumiodori: Revitalization of tradition in Okinawa
Abstract (300 Words):
On 16th of September in 2010, Kumiodori was selected for the Representative List of the Intangible Cultural Heritage of Humanity by UNESCO. Following Noh, Kabuki, and Bunraku, Kumiodori which had been one of the Important Cultural Properties of Japan since 1972, when Okinawa’s revision to Japan took place after a 27 year-long Occupation by the US, yet within 38 years, it was approved as an international cultural asset.
It’s been a great pride for Okinawans that Kumiodori stands as an Okinawan cultural ethos of their ethnicity and identity. It is because Kumiodori was first presented in front of the diplomats from the Shin dynasty in 1719 when Ryukyu was still a kingdom. As Ryukyu’s national theatre, Kumiodori served as an important Ryukyuan cultural representation till the day the kingdom was annexed to Japan in 1879. However under the newly centralized Japan’s modern government, Ryukyu was forced to change her stance toward being a part of Japan, eventually assimilation (Japanization) became a necessary measure in all things in Okinawa. In this geo-political procedure, Kumiodori still functioned as an important ethnic theatre and installation of cultural memory and identity.
By the time the new National theatre of Okinawa opened in 2004, Tatushiro Oshiro an Okinawa born prominent Akutagawa–award winning writer and playwright created 5 new Kumiodori, one of which “Madamamichi” (The Rainbow
of Madama Bridge) was presented for the New National theatre opening. Appreciated by many guests and Okinawans, Oshiro further continued creating new Kumiodori and now he has accomplished 20 of them so far, and 9 of them have already been performed in Okinawa. One of his works like “Umi no Tinzakai” (The Gods Beyond the Sea) was performed in Nagoya and LA. Its authenticity was highly valued by the LA audience and his energetic creativity/innovation has brought a revitalization to the present Okinawan community and cultural sphere. I’d like to discuss characteristics of Oshiro’s new Kumiodori and the impact of his works/performance on the Okinawan community.
Shoko Yonaha:
Theatre critic and PhD candidate at the University of Ryukyus.
Currently she’s been working on a Grant in Aid for Science Research about “The Genealogy of kumiodori –from Chokun’s five master pieces of Kumiodori to Okinawa shibai(play) and Jinruikan(The house of man).”(2009-2011) Also she is working on a Grant in Aid Science Research about “The distorted image of Okinawa seen in the novel, the drama, and the film of “The Teahouse of the August Moon.”(2010-2012)
She has written 'Okinawan Drama;Its Ethnicity and Identity under Assmilation to Japan' " Ethnicity & Identity -Global Performance,"(Rawat Publication, Jaipur, 2005)
可能な限り８月の発表までに大城作品のいくつかを英語に翻訳してそれも冊子として紹介したいと以前から考えている。それに向けて始動！あるのみ。
発表の英文概要を紹介したい。
この学会には通訳はつかず、すべて英語で研究発表&質疑がなされる。
詳細は以下のサイトからご覧ください！
FIRT/IFTR大阪大学International Federation for Theatre Research
<Tradition, Innovation and Community>
Category: General Panel
Title of Paper: Tastuhiro Oshiro’s New Kumiodori: Revitalization of tradition in Okinawa
Abstract (300 Words):
On 16th of September in 2010, Kumiodori was selected for the Representative List of the Intangible Cultural Heritage of Humanity by UNESCO. Following Noh, Kabuki, and Bunraku, Kumiodori which had been one of the Important Cultural Properties of Japan since 1972, when Okinawa’s revision to Japan took place after a 27 year-long Occupation by the US, yet within 38 years, it was approved as an international cultural asset.
It’s been a great pride for Okinawans that Kumiodori stands as an Okinawan cultural ethos of their ethnicity and identity. It is because Kumiodori was first presented in front of the diplomats from the Shin dynasty in 1719 when Ryukyu was still a kingdom. As Ryukyu’s national theatre, Kumiodori served as an important Ryukyuan cultural representation till the day the kingdom was annexed to Japan in 1879. However under the newly centralized Japan’s modern government, Ryukyu was forced to change her stance toward being a part of Japan, eventually assimilation (Japanization) became a necessary measure in all things in Okinawa. In this geo-political procedure, Kumiodori still functioned as an important ethnic theatre and installation of cultural memory and identity.
By the time the new National theatre of Okinawa opened in 2004, Tatushiro Oshiro an Okinawa born prominent Akutagawa–award winning writer and playwright created 5 new Kumiodori, one of which “Madamamichi” (The Rainbow
of Madama Bridge) was presented for the New National theatre opening. Appreciated by many guests and Okinawans, Oshiro further continued creating new Kumiodori and now he has accomplished 20 of them so far, and 9 of them have already been performed in Okinawa. One of his works like “Umi no Tinzakai” (The Gods Beyond the Sea) was performed in Nagoya and LA. Its authenticity was highly valued by the LA audience and his energetic creativity/innovation has brought a revitalization to the present Okinawan community and cultural sphere. I’d like to discuss characteristics of Oshiro’s new Kumiodori and the impact of his works/performance on the Okinawan community.
Shoko Yonaha:
Theatre critic and PhD candidate at the University of Ryukyus.
Currently she’s been working on a Grant in Aid for Science Research about “The Genealogy of kumiodori –from Chokun’s five master pieces of Kumiodori to Okinawa shibai(play) and Jinruikan(The house of man).”(2009-2011) Also she is working on a Grant in Aid Science Research about “The distorted image of Okinawa seen in the novel, the drama, and the film of “The Teahouse of the August Moon.”(2010-2012)
She has written 'Okinawan Drama;Its Ethnicity and Identity under Assmilation to Japan' " Ethnicity & Identity -Global Performance,"(Rawat Publication, Jaipur, 2005)
