| 摘要: | 當今的日本戲劇以三大傳統藝能「能」、「文樂」、「歌舞伎」為主，其中以歌舞伎為集大成。透過歷史的演變來看歌舞伎的發展與變化，孕育於大阪的文樂對歌舞伎的影響至鉅，改變了歌舞伎的表演形式。近松左衛門的出現提高了劇作家地位，所創之劇作富有戲劇性，並且也是位跨越文樂與歌舞伎的大師。若眾歌舞伎的出現結束了由女性演出歌舞伎的時代，江戶後期歌舞伎發展極致，確立了樣式美的形式，且舞台裝置、佈景趨於豪華與精密，到了明治時期受到西方影響，劇場逐漸以電動化的方式前進。
筆者以歷史發展、人物角色類型複雜化、表演特色、音樂美術、劇場、劇作等幾方面加以分析與探究，觀察與日本文化承傳及其文化精神之間的關係，並討論現今日本何以重視傳統文化藝能，提供讀者思考與參閱。
Nowaday, Noh, Bunraku, and Kabuki are the mainstream of traditional arts; especially Kabuki is a comprehensive expression of Japanese Drama. Through the progress of Japan’s history, Bunraku, which is from Osaka, has a huge influence to the development of Kabuki, and changes the performance of Kabuki as well.
Appearance of chikamatsumonzaemon raised the dramatist’s status. Chikamatsumonzaemon was a master of Bunraku and Kabuki, and he also owned a lot of theatrical works. The emergence of Wakasyukabuki ends the age of performing Kabuki by Women. In late edo, Kabuki had a maturity development, and set up the beauty of pattern. Moreover, stage setting became deluxe and delicate. In the Meiji period, theatre grew with electric way and influenced by west site.
I try to research and analysis through the improvement of history, complicated type of character, performing feature, music art, art works and theatre. Also, observing the relationship of the inheritance of Japanese Culture and spirit. The goal is to figure out the reason that Japanese pay a lot of attention of tradition culture and art, and provide the reference for public. |
