研究者詳細 - 小菅　隼人

研究発表 - 小菅　隼人

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演劇の公共性を考える

小菅隼人，藤野一夫，藤井慎太郎，米屋尚子

2015年日本演劇学会全国大会（桜美林大学） ,

2015年06月

シンポジウム・ワークショップパネル（指名）, 日本演劇学会

演劇の公共性の意味，実状，あり方を論じた．まず，各パネリストは，「価値観を共有する仕掛け」（米屋）として，（１）それぞれが「公共性」という言葉をどのような意味・視点で使うかということを明らかにした．次に，（２）演劇に特有の公共性について，それぞれの立場から報告した．三番目として（３）公共セクター（国や自治体）は演劇とどのように関わるべきかという問題について論じた．演劇の公共性と劇場の公共性は分けて考えるべきという意見（藤野），公共性は程度の問題（米屋）という有益な知見も得られた

「演劇と公共性」オープニングセッション

小菅隼人

2015年日本演劇学会全国大会（桜美林大学） ,

2015年06月

口頭発表（基調）, 日本演劇学会

鈴木美穂「憑依のダイナミックス：演劇論としてのキャリル・チャーチル『小鳥が口一杯』」『西洋比較演劇研究』Vol.14 合評会

小菅隼人他

日本演劇学会分科会西洋比較演劇研究会（成城大学）（成城大学） ,

2015年05月

シンポジウム・ワークショップパネル（指名）, 日本演劇学会分科会西洋比較演劇研究会

PSi #21 Fluid States 2015 Tohokuの開催について

小菅隼人他

日本演劇学会分科会西洋比較演劇研究会（成城大学）（成城大学） ,

2015年04月

口頭発表（基調）, 日本演劇学会分科会西洋比較演劇研究会

Shakespeare with Butoh: Hijikata Tatsumi’s Choreography of Macbeth (1972)

小菅隼人

FIRT/IFTR International Federation for Theatre Research World Congress Warwick 2014, UK （University of Warwick, UK） ,

2014年08月

口頭発表（一般）, FIRT and University of Warwick

Hijikata Tatsumi (1928-1986), one of the founders of Butoh and the most celebrated avant-gardists in Japan’s post World War II period, choreographed the Three Witches in Macbeth at the Nikkei Hall Theatre in Tokyo, 1972. This collaboration by a pioneer of a newly created performance genre with a Western classical dramatic piece is significant for two reasons. Firstly, it shows the vertical stratification of the interpretation of supernatural power and its expression in the history of Shakespearean production. With the choreography focused on the corporeality of the Three Witches, Hijikata newly presented figures with the senses and feelings experienced by the “undomesticated” bodies of malevolent creatures. Secondly, this choreography might have symbolic and substantial value for understanding the creation of Butoh. After a four-year hiatus from Nikutai-no-Hanran in 1968, Hosotan was produced based on Hijikata’s basic concept around Tôhoku in 1972. Hijikata clearly paid much attention to Shakespearean witches as both invisible forces and malevolent indigenous creatures.

Epiphanies of Tōhoku Avant-garde: Modernity and Indigenousness of Post-war Japan

小菅隼人森下　隆本間　友

20th PSi conference （Shanghai Theatre Academy） ,

2014年07月

口頭発表（一般）, PSi and Shanghai Theatre Academy

文楽助成金削減問題セッション

小菅隼人

2014年日本演劇学会全国大会（摂南大学） ,

2014年06月

シンポジウム・ワークショップパネル（指名）, 日本演劇学会

小菅隼人(慶応大学)、竹村登茂子(読売新聞大阪本社文化・生活部長)、林公子(近畿大学)
　近年の橋下大阪市長が主導する「観客連動方式」による文楽助成金削減は、大きな社会的衝撃を与えた。同時に、大阪が世界に誇る文化遺産である文楽を単に観客数、競争原理だけで割り切っていいのか、という疑問の声も広く巻き起こった。日本演劇学会は演劇研究の専門家集団として、今回の大会で特にこの問題のセッションを置き、討論することとした。文楽助成金削減問題をずっと追いかけ記事にしてきた読売新聞大阪本社文化・生活部長竹村登茂子氏を招き、西洋演劇専攻だがこの問題に強い関心を持つ小菅隼人会員、文楽など近世演劇専攻の林公子会員がパネラーを担当する。

拡張する舞踏の身体：「土の土方と水滴の時間」の実践についての再考察

小菅隼人

《肉体の叛乱から形成まで： 2013日台身体美学フォーラム》（国立臺南大学） ,

2013年10月

口頭発表（招待・特別）, VanBody Theatre Company

Butoh Beyond Theatres: Ohno Kazuo on the University Campus

小菅隼人

FIRT/IFTR International Federation for Theatre Research Annual Conference Barcelona 2013, Spain （Institut del Teatre, Barcelona） ,

2013年07月

口頭発表（一般）, FIRT and Institut del Teatre

Ohno Kazuo (1906-2010), one of Butoh founders and the most celebrated performer in the Japanese post World War II period, gained international acclaim after presenting his magnum opus, Admiring La Argentina at 1980 Nancy International Theatre Festival. He, however, had also been giving many performances and workshops outside of theatres, such as in hospitals, in the church at Christmas Mass and in the university campus as well as in dance laboratories. It may be argued that, for Ohno, Butoh is neither confined within permanent theatres nor categorized into modern dance but is a performance style based on philosophical and emotional sentiments connected with the anti-establishment and anti-traditional aestheticism. In this presentation, taking his workshops and performances in the university lecture room, another impact and function of Butoh will be considered: Ohno Kazuo performed for educational purposes for freshman-students at Keio University’s festival for 7 years. This project in Keio was proposed as a way to relax the tension of the freshman students who had concentrated their attentions only on the entrance examination and then to lead them to have more flexible attitudes to their ideas and future possibilities. More than 500 excited students, many of whom had never experienced Butoh, gathered each year for the performance, which became quite successful. This tradition has been carried on until now by many leading Butoh dancers such as Waguri Yukio, Yamamoto Moe, Murobushi Koh, Iwana Masashi, Nagaoka Yuri, Bishop Yamada and Kasai Akira.
In the context of the conference’s theme, “re-routing performance” Ohno Kazuo’s performances beyond theatres must be worthwhile as a subject for a discussion about the re-routing/re-rooting of the value of contemporary performance and educational possibilities of Butoh and the unique functions they have established.

Praxis session. Butoh Beyond Theatres: Temporality, Education, Community

小菅隼人森下　隆本間　友

19th PSi conference （Stanford University） ,

2013年06月

口頭発表（一般）, PSi and Stanford University

In this PSi-Praxis, we will present a 50 minutes film screening of a Butoh performance held at Keio University in 2010, a collaborative project between Kasai Akira, a Butoh dancer, and Yoshimasu Gozo, a leading Japanese poet. In addition to the screening, we will give some explanatory remarks about the concept of the project on the university campus, introductions about Kasai Akira and Yoshimasu Gozo, and a discussion about modern expansions of Butoh outside of permanent theatres; then, we will have an open discussion with participants about the meaning and possibility of the “educational” and “temporal” nature of the Butoh performance.
Kasai Akira (1943- ), one of Japan’s Butoh founders with Hijikata Tatsumi and Ohno Kazuo, and who claims to be the first dancer that titled his dance as “Butoh,” said that Butoh should not be categorized as dance but rather by the attitude or spirit of the dancer to his or her own body. He suggests, moreover, that Butoh is an “art of the spirit” as well as an art of the body, so that classical Western Ballet and traditional Japanese dance could become Butoh. Probably, his remarks could be taken to suggest that Butoh is neither confined within permanent theatres nor categorized into modern dance but is a performance style based on philosophical and emotional sentiments connected with the anti-establishment and anti-traditional aestheticism Hijikata Tatsumi and Ohno Kazuo discovered. It might be said that Butoh performances have an ephemeral and fluid nature in terms of both style and function. In fact, Ohno Kazuo performed for educational purposes for freshman-students at Keio University’s festival for 7 years. This project was proposed as a way to relax the tension of the freshman students who had concentrated their attentions only on the entrance examination and then to lead them to have more flexible attitudes to their ideas and future possibilities. More than 500 excited students, many of whom had never experienced Butoh, gathered each year for the performance, which became quite successful. This tradition has been carried on by many leading Butoh dancers such as Waguri Yukio, Yamamoto Moe, Murobushi Koh, Iwana Masashi, Nagaoka Yuri, Bishop Yamada and Kasai Akira.
The Butoh performance projected in this Praxis was originally held in the open space at Keio University, Yokohama, in the evening of June 30th, 2010, titled “Sphere, Flashing Souls—Requiem”, a collaboration of Kasai and Yoshimasu, and dedicated to the Butoh giant, Ohno Kazuo, who had died a month earlier at 103 years of age. In this extraordinary performance, Kasai Akira danced energetically on and off the stage, moving around the auditorium, while Yoshimasu was kneeling on the stage-floor in a formal position reading his poem “Ancient Astronomical Observatory.” Their collaboration proceeded mostly with the two performers maintaining a reasonable distance between each other but sometimes getting intertwined very closely to the extent that the space was transformed to tightly bind the artistic community with audience-participation. This performance is worthwhile not only as a collaborative Butoh with a high degree of perfection but also as a subject for a discussion of the PSi-Praxis about the temporality and educational possibilities of Butoh performances outside of theatres and the unique functions they have to make new communities.

言葉の有効性―大惨事に際して演劇がしてきたこと・できること・すべきこと

小菅隼人

慶應英文学会第8回（2012年）大会（慶應義塾大学日吉キャンパス来往舎シンポジウムスペース） ,

2012年10月

口頭発表（招待・特別）, 慶應英文学会

《シンポジウム》ことばの有効性(チカラ)――政治・メディア・文学
小菅隼人：「言葉の有効性―大惨事に際して演劇がしてきたこと・できること・すべきこと」．（１）大震災を経験して，「演劇の上演環境」の観点から見えてきたこと．（２）大震災を経験して，「演劇の有効性」の観点から見えてきたこと．（３）上記二つの観点から，演劇研究がすべきこと．

Transformed and Mediated Butoh Body: Hijikata’s Earthen Statue Project and its Significance

小菅隼人

FIRT/IFTR International Federation for Theatre Research Annual Conference Santiago 2012, Chile （Pontificia Universidad Catolica de Chile） ,

2012年07月

口頭発表（一般）, FIRT and Pontificia Universidad Catolica de Chile

Tohoku as the Conceptual Roots of Butoh

小菅隼人

18th PSi conference （Leeds University） ,

2012年06月

口頭発表（一般）, PSi and Leeds University

土方巽研究会「舞踏の国際化―現状と未来」

小菅隼人森下隆本間友

土方巽を語ること2,

2012年01月

公開講演，セミナー，チュートリアル，講習，講義等, ポートフォリオBUTOH

Presentation and Screening: Hijikata Tatsumi in the Age of High Economic Growth, A Rebellion of the Body, Birth in Expo’70, and A Tale of Smallpox

小菅隼人森下隆本間友

FIRT/IFTR International Federation for Theatre Research Annual Conference Osaka 2011, Japan （Osaka University） ,

2011年08月

その他, International Federation for Theatre Research

土方巽舞踏大解剖Ⅵ:HIJIKATA '68－'72

小菅隼人森下隆本間友

土方巽舞踏大解剖Ⅵ:'68－'72,

2011年08月

公開講演，セミナー，チュートリアル，講習，講義等, 大阪大学中之島センター7F 講義室３

=映像上映：舞台の土方巽
「肉体の叛乱」（1968年、撮影：中村宏）、「疱瘡譚」（1972年、監督・撮影：大内田圭弥）
=トーク＆上映：万博映画の土方巽
森下隆（慶應義塾大学アート・センター土方巽アーカイヴ）、小菅隼人（慶應義塾大学理工学部外国語総合教育教室）
特別上映：「万博映画の土方巽」（1970年日本万国博覧会みどり館アストロラマ上映作品「誕生」より）

Recordability, Reconstructability and Transformability: Digital Preservation of Butoh Body Movements

小菅隼人

17th PSi conference （Utrecht University） ,

2011年05月

口頭発表（一般）, PSi and Utrecht University

Déjà vu in Japan-land: Robots, Notebooks, and Fairytales

小菅隼人

J-land Workshop （ベルリン自由大学） ,

2011年05月

口頭発表（招待・特別）, Freie Universitat Berlin

The Making of Hijikata Tatsumi’s Anti-modernist Idea: Collaboration with Hosoe Eikoh

小菅隼人他

IFTR World Congress “CULTURES OF MODERNITY” (Munich, 25 - 31 July 2010) （Munich, Germany） ,

2010年07月

口頭発表（一般）, International Federation of Theatre Research

国際演劇学会（リスボン）報告

小菅隼人他

日本演劇学会分科会、西洋比較演劇研究会例会（成城大学） ,

2009年07月

口頭発表（招待・特別）, 日本演劇学会分科会、西洋比較演劇研究会

土方巽の代表作『四季のための27晩』の中から「疱瘡譚」（1972）を取り上げ，7月の国際演劇学会（リスボン）での発表“Hijikata’s Tatsumi’s Way of Rebellion in the Age of Political Chaos: A Tale of Small Pox and His Anti-authoritarian Aesthetics”の内容について報告をします．この月例会の発表では，まず「疱瘡譚」の記録映像の短縮版（約20分）を見ていただき，作品の基本的な構造を紹介します．次に，この作品に強い影響を与えたであろう時代背景を三里塚成田闘争，水俣病公害闘争，ハンセン病闘争として，その関連性を考えます．土方巽は発表者の調べた限りでは同時代の政治に対して明確な発言をしていませんが，多数の映画出演から土方と政治性の関連について仮説を提示します．

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小菅 隼人

研究発表 - 小菅 隼人

小菅　隼人

研究発表 - 小菅　隼人