花街の芸の再創造 : 京都上七軒における石田民三の寄与を中心に

機関リポジトリ Web Site

書誌事項

タイトル別名
  • ハナマチ ノ ゲイ ノ サイソウゾウ : キョウト ジョウ ナナケン ニ オケル イシダミン サン ノ キヨ オ チュウシン ニ
  • ハナマチ ノ ゲイ ノ サイソウゾウ : キョウト カミシチケン ニ オケル イシダ タミゾウ ノ キヨ オ チュウシン ニ
  • Hanamachi no gei no saisozo : Kyoto Kamishichiken ni okeru Ishida Tamizo no kiyo o chushin ni
  • The re-creation of an art of the Geisha community : a case study of the contribution of Tamizo Ishida to Kamishichiken in Kyoto

この論文をさがす

抄録

type:text

The purpose of this study is to clarify how they have promoted the traditional art performance, which is created in a city. For this purpose, I have selected one of the five Geisha Community of Kyoto known as Kamishichiken. By reviewing information on the history through interviews with hosts and guests, I analyzed the dance performance and the aspects of Geisha Community which were devoted to the culture of hospitality. Kamishichiken is small scale, self-enclosed but focused on quality of arts, and has a close relationship with Nishijin merchants in Kyoto. Mainly By this close relationship was with Nishijin, an excellent textile maker and primary patrons of these arts, after WW II in 1952 during the important festival of Kitano shrine, Kamishichiken disclosed the performances. It was an excellent opportunity for them to show their new arts. However, they had to develop new performances to suite the changing society. Their performances were created under the direction of a movie director, Tamizo Ishida (1901‒1972) with a respectable knowledge of dance performances, he worked out new plans. By caring not to spoil the traditional dance of the Hanayagi school,Ishida created continuous hybrid performances with another dance schools and with a new type of music. In this thesis, Iwill clarify how the hybrid performances opened to the new audiences and the difficulties in promoting these new performances in a changing society.

論文

収録刊行物

詳細情報 詳細情報について

問題の指摘

ページトップへ