Details of a Researcher - Kosuge, Hayato

Presentations -

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The Social World of Butoh Dance: Screening an Unseen Performance from the 1970s

Hayato KOSUGE and Kae ISHIMOTO

International Federation for Theatre Research Annual Conference 2024 (University of the Philippines Diliman) ,

2024.07

International Federation for Theatre Research

Join us over the course for talks and a screening of Shiokubi (1975) – a performance created by butoh dancer Bishop Yamada, overseen by Tatsumi Hijikata. This performance marks the founding of Yamada’s own dance company Hoppo Butoh Ha in Tsuruoka (Yamagata prefecture). The performance was shot as part of a video project known as the VIC (Video Information Center)*, which includes 1,200 tapes of performances, exhibitions, and events from the 1970s and 1980s. Those involved in the project were not only interested in documenting the performance of Shiokubi (Head was kept in salt) itself, but the whole world around the performance: from arrival at the venue, to final rehearsal, to afterparty. We will be giving researchers a chance to watch these additional materials, as well as situating the film within the context of the VIC archive and the Tatsumi Hijikata Archive, both held at Keio University Art Center.

*VIC (Video Information Center, 1972-present) is a movement that recorded various events to produce experimental television broadcasts, such as the 1978 ‘Paravision Ten’ CATV broadcast.

*Butoh dance is said to have started in the late 1950s in Japan, with Hijikata Tatsumi as its founder. Hijikata’s butoh method specifically uses image-language as choreography, and engages with Japanese movement traditions as well as Western literary and artistic influences. Butoh places a special importance on the quality and energy of movement, seeking to encourage a localized sensitivity to movement, through connection with the imagination. It particularly interrogates ideas of an uncontrolled, distorted, or collapsed body, and is sometimes termed the ‘body in revolt.’

前衛パーフォーマンスの探究vol.1 ポートフォリオBUTOH「『ラ・アルヘンチーナ頌』上映会

小菅隼人，永田靖，石本華江

[Domestic presentation] 前衛パーフォーマンスの探究vol.1 ポートフォリオBUTOH「『ラ・アルヘンチーナ頌』上映会,

2024.03

Public lecture, seminar, tutorial, course, or other speech, 慶應義塾大学アート・センター，大阪大学中之島芸術センター

VICコレクション*より、大野一雄の伝説的公演〈ラ・アルヘンチーナ頌〉の上映会を行いました。舞踏を代表する作品の一つである本公演の初演をとらえたVICの映像は、舞踏研究において、そして当時の前衛芸術を語る上で稀有な資料です。
第一部として、石本華江（慶應義塾大学アート・センター土方巽アーカイヴ）によりアート・センターおよびVICコレクションについて説明の後、〈ラ・アルヘンチーナ頌〉公演映像の全編上映を行いました。
第二部は小菅隼人から大野一雄の舞踏について概要の説明、また永田靖（大阪大学中之島芸術センター／大阪大学文学研究科演劇学研究室）と共にアングラ演劇や舞踏の流れについて討議を行いました。

祈りの場をひらく

Hayato Kosuge

[Domestic presentation] 創造力とコミュニティ研究会１９ (横浜市中区石川町，居場所カドベヤ) ,

2023.03

Public lecture, seminar, tutorial, course, or other speech, 居場所「カドベヤで過ごす火曜日」運営委員会，慶應義塾大学教養研究センター　　　

“The Meaning of Hoppo Butoh School in the Shonai Area”

HAYATO KOSUGE

[International presentation] “The Social World of Butoh Dance” (Queens’ College, Cambridge U, UK) ,

2022.12

Oral presentation (invited, special), JSPS

Screening: "The Three Female Butoh Dancers: Kobayashi Saga, Yuki Yuko and Uesugi Mitsuyo"

Hayato Kosuge

[International presentation] Butoh Next (City University of New York) ,

2019.11

Public lecture, seminar, tutorial, course, or other speech, Routledge Book Syposium Organizing Committee

Curated Panel: Performing the Emperor and the War- Heroes in the Context of Deification and Demystification Post- WW2 Tokyo

Rei Inayama, Tomoko Kumagai, Mariko Miyagawa, Hayato Kosuge (curator and chair)

[International presentation] World Congress of International Federation of Theatre Studies (上海) ,

2019.07

Public lecture, seminar, tutorial, course, or other speech, International Federation of Theatre Studies

Urbanism and Ruralism in Butoh: the Significance of Yuki Yuko and Her Dance Company, Suzuran-toh

Hayato Kosuge

[International presentation] World congress of International Federation of Theatre Studies (上海) ,

2019.07

Oral presentation (general), International Federation of Theatre Studies

「演劇にみる《王の二つの身体》―軍神，天皇，Kaiserin―」問題提起

KOSUGE HAYATO

[Domestic presentation] 日本絵劇学会分科会西洋比較演劇研究会シンポジウム (成城大学) ,

2019.01

Symposium, workshop panel (nominated), 日本絵劇学会分科会西洋比較演劇研究会

なぜ演劇研究の場で「天皇」を問題にするか
（1）天皇制を演劇的視点から見る時，天皇制はどのような構造―どのような形態と機能―を持っているのか？〈天皇／民衆〉が見る存在である共に見られる存在であったとすれば，天皇制をパフォーマンスとして見ることは，翻って〈舞台／観客〉という演劇の構造を考えることになる．
（2）象徴としての天皇と人間としての天皇の併存という二元構造が天皇制の基本構造だとすれば，「象徴」としての存在と「人間」としての存在を媒介するものは何か？これは翻って演劇における，記号としての劇人物と現実としての俳優の関係を考えることになる．
（3）ヨーロッパの君主制における王権の表象と日本の天皇制における天皇表象に違いがあるのか？　演劇に現れた「君主」像の違いとその影響関係を見ることで，文化の中での演劇作品の変容と，特に，現代において日本で生み出された演劇作品の特徴を見ることができる．

Curated Panel: The Theatre of Ghosts and the Other under the Threat of Mass Deaths

KOSUGE HAYATO,Mariko Hori Tanaka, Tomoko Kusuhara, Yukari Ito

[International presentation] IFTR 2018 Migration and Stasis (9-13 July, 2018) (Belgrade, Serbia) ,

2018.07

Symposium, workshop panel (public), International Federation of Theatre Research

Curated Panel:Migrating/Migrated Bodies in Japanese Context

KOSUGE HAYATO, Ken Hagiwara, Rina Tanaka, Mariko Miyagawa

[International presentation] IFTR 2018 Migration and Stasis (9-13 July, 2018) (Belgrade, Serbia) ,

2018.07

Symposium, workshop panel (public), International Federation of Theatre Research

Theorizing Asian Bodies in Performance

KOSUGE HAYATO

[International presentation] IFTR International Federation for Theatre Research 2018, Regional conference, in UP Diliman, Manila (UP Diliman) ,

2018.02

Symposium, workshop panel (nominated), IFTR International Federation for Theatre Research

The Urbanity and Locality of Northern Butoh School from Fukushima Perspective

KOSUGE HAYATO

[International presentation] FIRT/IFTR International Federation for Theatre Research 2017, Sao Paulo, Brazil (University of Sao Paulo, Brazil) ,

2017.07

Oral presentation (general), University of Sao Paulo, Brazil

Overflowing Local Bodies in Global Age: Introduction

KOSUGE HAYATO

[International presentation] 23th PSi conference (Kampnagel, Hamburg) ,

2017.06

Symposium, workshop panel (public), PSi and University of Hamburg

The subject of modern Japanese “overflowing bodies” obscures the demarcation of performance order, whether ‘universal’ or ‘local.’ On the one hand, if we would stand on the position derived from the philosophical quest to discover what the body is and how it is represented, bodies and performances should not be categorised according to ethnicities. Bodies are unconstrained by the parameters of a specific races and cultures to the extent that they have universal essences for all human beings in universal culture. On the other hand, the concept of ‘locality’ of bodies and performances is based on an artistic approach that finds style in endemic and indigenous bodies and body movements, favouring an eccentric, unsophisticated, and premodern or local or ‘rural’ location. Performers or performance groups quite often find their artistic identities in personal or separate consciousness based on the specific site and tradition. Taking the examples of various Japanese bodies in European site, we will open discussion for all participants who may have any interest in the permanency or transformation of bodies and performances irrespective of Japanese contexts.

Conference and Performance on Land Affected by Emotions: PSi #21 Fluid States 2015 Tohoku

KOSUGE HAYATO

[International presentation] 22th PSi conference (University of Melbourne) ,

2016.07

Oral presentation (general), PSi and University of Melbourne

ポスト・グローバリゼーション時代の日本演劇：ラウンドテーブル

KOSUGE HAYATO

[Domestic presentation] 2016年日本演劇学会全国大会 (大阪大学) ,

2016.07

Symposium, workshop panel (nominated), 日本演劇学会全国大会

Staging Past Disasters with Butoh Dance: Ohno Yoshito’s “Flower and Bird/Inside and Outside”

KOSUGE HAYATO

[International presentation] FIRT/IFTR International Federation for Theatre Research 2016, Stockholm, Sweeden (University of Stockholm, Sweeden) ,

2016.06

Oral presentation (general), University of Stockholm, Sweeden

ライブ×メディア―演劇と映像の関係性をめぐって

KOSUGE HAYATO

[Domestic presentation] 日本演劇学会分科会西洋比較演劇研究会シンポジウム (成城大学) ,

2015.12

Symposium, workshop panel (nominated), 日本演劇学会分科会西洋比較演劇研究会

Closing Roundtable Discussion: Performance Studies: Encounters, Engagements and Encumbrances

KOSUGE HAYATO

[International presentation] PSi#21 Philippines:On Tilted Earth: Performance, Disaster, Resiliencein Archipelagic Space (University of Philippines Diliman) ,

2015.11

Symposium, workshop panel (nominated), Performance Studies international

Performances and the National Trauma: How Are Artists To Respond to Large-scale Disaster and Its Aftermath?

KOSUGE HAYATO

[International presentation] PSi#21 Philippines:On Tilted Earth: Performance, Disaster, Resiliencein Archipelagic Space (University of De La Salle University, Manila) ,

2015.11

Oral presentation (general), Performance Studies international

Hijikata Tatsumi’s Butoh Body and the Hidden Power of Democracy

KOSUGE HAYATO

[International presentation] FIRT/IFTR International Federation for Theatre Research 2015, Hyderabad, India (University of Hyderabad, India) ,

2015.07

Oral presentation (general), University of Hyderabad, India

演劇の公共性を考える

KOSUGE HAYATO

[Domestic presentation] 2015年日本演劇学会全国大会 (桜美林大学) ,

2015.06

Symposium, workshop panel (nominated), 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

KOSUGE HAYATO

[Domestic presentation] 2015年日本演劇学会全国大会 (桜美林大学) ,

2015.06

Oral presentation (keynote), 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

[Domestic presentation] 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) ,

2015.05

Symposium, workshop panel (nominated), 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

[Domestic presentation] 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) ,

2015.04

Oral presentation (keynote), 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)

KOSUGE HAYATO

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

2014.08

Oral presentation (general), 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

KOSUGE HAYATO

[International presentation] 20th PSi conference (Shanghai Theatre Academy) ,

2014.07

Oral presentation (general), PSi and Shanghai Theatre Academy

文楽助成金削減問題セッション

KOSUGE HAYATO

[Domestic presentation] 2014年日本演劇学会全国大会 (摂南大学) ,

2014.06

Symposium, workshop panel (nominated), 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

KOSUGE HAYATO

[International presentation] 《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) ,

2013.10

Oral presentation (invited, special), VanBody Theatre Company

Butoh Beyond Theatres: Ohno Kazuo on the University Campus

KOSUGE HAYATO

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

2013.07

Oral presentation (general), 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

KOSUGE HAYATO

[International presentation] 19th PSi conference (Stanford University) ,

2013.06

Oral presentation (general), 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

KOSUGE HAYATO

[Domestic presentation] 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) ,

2012.10

Oral presentation (invited, special), 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

KOSUGE HAYATO

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

2012.07

Oral presentation (general), FIRT and Pontificia Universidad Catolica de Chile

Tohoku as the Conceptual Roots of Butoh

KOSUGE HAYATO

[International presentation] 18th PSi conference (Leeds University) ,

2012.06

Oral presentation (general), PSi and Leeds University

土方巽研究会「舞踏の国際化―現状と未来」

KOSUGE HAYATO MORISHITA TAKASHI HOMMA YU

土方巽を語ること2,

2012.01

Public lecture, seminar, tutorial, course, or other speech, 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

KOSUGE HAYATO MORISHITA TAKASHI HOMMA YU

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

2011.08

Other, International Federation for Theatre Research

土方巽舞踏大解剖Ⅵ:HIJIKATA '68－'72

KOSUGE HAYATO MORISHITA TAKASHI HOMMA YU

土方巽舞踏大解剖Ⅵ:'68－'72,

2011.08

Public lecture, seminar, tutorial, course, or other speech, 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

KOSUGE HAYATO

[International presentation] 17th PSi conference (Utrecht University) ,

2011.05

Oral presentation (general), PSi and Utrecht University

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

KOSUGE HAYATO

[International presentation] J-land Workshop (ベルリン自由大学) ,

2011.05

Oral presentation (invited, special), Freie Universitat Berlin

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

KOSUGE HAYATO

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

2010.07

Oral presentation (general), International Federation of Theatre Research

国際演劇学会（リスボン）報告

KOSUGE HAYATO

[Domestic presentation] 日本演劇学会分科会、西洋比較演劇研究会例会 (成城大学) ,

2009.07

Oral presentation (invited, special), 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．

Hijikata’s Tatsumi’s Way of Rebellion in the Age of Political Chaos: A Tale of Small Pox and His Anti-authoritarian Aesthetics

KOSUGE HAYATO

[International presentation] IFTR 2009 Conference in Lisboa under the category of General Conference (Lisboa, Portugal) ,

2009.07

Oral presentation (general), International Federation of Theatre Research

舞踏研究の方法と公開について―（FIRT）ソウルでの発表を踏まえて

KOSUGE HAYATO

[Domestic presentation] 日本演劇学会分科会、西洋比較演劇研究会例会 (成城大学) ,

2008.09

Oral presentation (invited, special), 日本演劇学会分科会、西洋比較演劇研究会

The Creation and Transmission of the Indigenous Body Movements in Hijikata’s Dance of Darkness

KOSUGE HAYATO

[International presentation] IFTR 2008 Conference in Seoul under the category of General Conference (Seoul, Korea) ,

2008.07

Oral presentation (general), International Federation of Theatre Research

「ポートフォリオBUTOH」構築の試みについて

小菅隼人

[Domestic presentation] 日本演劇学会秋の研究集会 (大阪大学中之島センター) ,

2006.11

Oral presentation (general), 日本演劇学会

デジタルメディアコンテンツ統合研究機構（文部科学省委託事業）共同研究プロジェクト「ポートフォリオBUTOH」〔小菅隼人・森下隆による共同研究〕について発表した。今回発表のDMC「ポートフォリオBUTOH」は、「動きのアーカイヴ」の実績を参照しつつ、初演の記録映像、舞踏譜、初演舞踏手が現存しているという点で貴重な研究題材である「正面の衣裳」（1976年）を取り上げ、「動き」を記録・分析する方法・意義を中心に報告した。

シンポジウム「シェイククスピア映画再考」

KOSUGE HAYATO

[Domestic presentation] 日本演劇学会分科会、西洋比較演劇研究会例会 (成城大学) ,

2004.04

Oral presentation (invited, special), 日本演劇学会分科会、西洋比較演劇研究会

（第１部）演劇における“台詞の占める役割”について；（第２部）野田秀樹の台詞を位置付ける

小菅隼人企画・司会・発表。他パネリスト４名

[Domestic presentation] 2000年度日本演劇学会春季大会若手研究者交流セミナー (日本大学) ,

2000.05

Oral presentation (invited, special), 日本演劇学会

シンポジウム「言語/身体/モノローグ」（企画、司会、口頭発表）

小菅隼人他

[Domestic presentation] 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) ,

1999.11

Oral presentation (invited, special), 日本演劇学会分科会西洋比較演劇研究会

モノローグと観客の『再観客化』－John Heywoodにおける登場人物の自立性

小菅隼人

[Domestic presentation] 日本英文学会第71回大会（松山大学） (松山大学) ,

1999.05

Oral presentation (general), 日本英文学会

20世紀の演劇性

小菅隼人他

[Domestic presentation] 日本演劇学会分科会西洋比較演劇研究会シンポジウム (成城大学) ,

1999.01

Oral presentation (invited, special), 日本演劇学会分科会西洋比較演劇研究会

「瞑想的モノローグ」の成立について

小菅隼人

[Domestic presentation] 日本演劇学会秋季大会研究発表 (能勢浄るりシアター) ,

1998.10

Oral presentation (general), 日本演劇学会

King Learの悲劇性:第3幕・第4幕の作劇術を中心に

小菅隼人

[Domestic presentation] 第32回日本シェイクスピア学会（甲南大学）セミナ- (甲南大学) ,

1993.10

Oral presentation (general), 日本シェイクスピア協会

悲劇における喜劇的なるものの意味

小菅隼人

[Domestic presentation] 第31回日本シェイクスピア学会（山梨英和短期大学）セミナ- (山梨英和短期大学) ,

1992.10

Oral presentation (general), 日本シェイクスピア協会

シェイクスピア上演の可能性――国際シェイクスピア学会第五セミナー『シェイクスピアと東洋演劇における演技と言語』に参加して

小菅隼人

[Domestic presentation] 日本演劇学会分科会，西洋比較演劇研究会例会（成城大学）報告 (成城大学) ,

1991.10

Oral presentation (invited, special), 日本演劇学会分科会西洋比較演劇研究会

シェイクスピアと東洋演劇における演技と言語

小菅隼人

[Domestic presentation] World Shakespeare Congress（共立薬科大学）セミナー5 (共立薬科大学) ,

1991.08

Oral presentation (invited, special), International Shakespeare Association

シェイクスピアとトランスベスチズムの関連について

小菅隼人

[Domestic presentation] 日本演劇学会分科会，西洋比較演劇研究会シンポジウム（慶應義塾大学） (慶応義塾大学) ,

1989.12

Oral presentation (invited, special), 日本演劇学会分科会西洋比較演劇研究会

Measure for Measureにおける公爵の変装について

小菅隼人

[Domestic presentation] 藝文学会（慶應義塾大学）研究発表 (慶應義塾大学) ,

1989.06

Oral presentation (general), 慶應義塾大学藝文学会

『劇のダイアローグ-個人の出会いのデュオローグ』について

小菅隼人，その他

[Domestic presentation] 日本演劇学会分科会，西洋比較演劇研究会例会（成城大学）研究発表 (成城大学) ,

1988.11

Oral presentation (invited, special), 日本演劇学会分科会西洋比較演劇研究会

男装と『世界劇場』-『十二夜』におけるヴァイオラの特殊性

小菅隼人

[Domestic presentation] 第27回日本シェイクスピア学会（福島大学）研究発表 (福島大学) ,

1988.10

Oral presentation (general), 日本シェイクスピア協会

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