지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
This review paper examines the unique production styles of 〈Noh〉, a traditional Japanese play in detail. First, the individuality of each character in 〈Noh〉 is respected unlike other Japanese plays where the unity in performance is more prioritized. Another unique production style found in 〈Noh〉 includes both its structured time flow and the existence of two places in every performance. Third, the stage of 〈Noh〉 is regarded as not only the place for actor’s performance but also the divine place where performance is staged in collaboration with the audience. Next, an important symbol of 〈Noh〉 is 〈Noh-Myen〉, a mask. 〈Noh-Myen〉 is considered as the tool for performers’ transformation over time and place beyond the one covering an actor’s facial expression. In a similar vein, music and costume in 〈Noh〉 are interpreted as the symbols for the amity between human and nature. These spiritual and mysterious production styles of 〈Noh〉 are the artistic assets inherited from the past and continued in the future. In this sense, 〈Kogaki〉, a production note of 〈Noh〉, is important because it plays the role of the channel through which tradition of〈Noh〉 has been kept but, at the same time, due to which another creative and new form of 〈Noh〉 has been possible. Lastly, even though the production style of 〈Noh〉 is far away from the modern style of Japanese play production, the style has the shared messages in every play of 〈Noh〉 - freedom from formality and responsibility for tradition.
목차
1. 서론
2. 제아미(世阿弥)의 노 연출론
3. 노 연출의 실제
4. 결론
參考文獻
Abstract
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UCI(KEPA) : I410-ECN-0101-2016-830-001999832