Books etc

■ Theme (contents): Akira Kasai has described the future of avant-garde art that extends beyond the historical progression of his own path from “Ankoku Buyō” to “Ankoku Butoh” to “Butoh” as follows: “It really doesn’t matter to me that it gets called Butoh. We are too caught up in the word. Simply put, if it is introspective, contemporary, and pushes back against discrimination, it’s Butoh. If it has these three factors, even without using that specific word, it’s still a universal experience because the people living this way won’t disappear.” (Interview with Akira Kasai on August 16, 2019) This is a sentiment that applies to all things avant-garde. Inevitably, the avant-garde becomes passé. Forward-thinking art becomes the classics of the next generation, to be talked about in museums and at universities or forgotten as even the people who remember those associated with these movements fade away. The question is, will the avant garde form known as “Butoh” continue to evolve and expand with its current name, getting passed down to younger artists, or will it shed its current “skin” to morph into something else entirely, with only its core ideas remaining? Perhaps it will only be remembered and recorded as a fleeting moment in the annals of contemporary art history. The purpose of this booklet is to (1) broadly define and position Butoh as avant-garde, and (2) consider whether Butoh will be inherited and transmitted in a new form in the future. *Editors: Hayato Kosuke (planning to ask Kae Ishimoto to work as an assistant editor)

白凰社版『ベスト・プレイズ』（2000）の改訂新版

Bishop and Hoppo Butoh-ha accepted the challenge of presenting their butoh as site-specific, rural performances. While one might consider his experiment in actualizing Hijikata’s mythic northern butoh in the real world to ultimately have been a failure, as butoh has continued to spread throughout Japan and, indeed, all over the world, others have taken up the challenge of localizing butoh in rural areas. Today one can find butoh thriving in both urban environments and remote landscapes. The expansion of butoh reflects its ambivalent combination of urbanity and rurality—on the one hand thematizing the Northern (Hoppo) area as the Urheimat of Hijikata’s “darkness” and, on the other hand, emphasizing a ubiquitous, transnational, and nomadic nature detached from any cultural values. Butoh has remained amorphous and capable of expanding its cultural articulation. G

Shakespeare’s works are marked by a double consciousness. On the one hand is “the great chain of being,” a desire people had to position themselves in a stable order inherited from the medieval model of the cosmos. On the other hand is theatrum mundi, a self-awareness people had regarding themselves as actors on the “stage of the world.” Although one is a universal model and the other a self-image held in human society, both of these ideas share what can be termed a “relativism of imagination” at their base: people are strongly conscious of spectators’ eyes and have a feeling that they are playing roles in the community. This relativism would later lead people not to stay in ordered and fixed identities/positions; rather, they would learn to hold relative and subjective values according to differences in social and cultural situations. This individualistic imagination would be a destructive factor in the universal order of macrocosms and microcosms and would invite modern individualism.

本論では、英国ルネサンスにおいて、明確な形での「瞑想的モノローグ」の成立をどこに求めることが出来るのか、さらには、「瞑想的モノローグ」という約束事の成立が観客と舞台との間に如何なる関係をもたらしたのか、主としてこの2点について以下の部分で考察することを目的とする。 その際、主として対象とするのは、英国テューダー朝中期の劇作家ニコラス・ユーダル（Nicholas Udall，c. 1505-56）の作品、及び、ローマ演劇の影響をうけ、民衆演劇とは題材や上演形態を異にする所謂「古典的インタールード」（Classical Interlude）、あるいは「エリート・ドラマ」(Elite Drama)と呼ばれる戯曲群である。

本論では、『タイタス・アンドロニカス』を主たる題材として、演劇における料理および食事行為の迫真性のあり方を考察する。 その際、シェイクスピアの演劇性はドラマにおける意味の重層性に特徴があるという立場に拠って、まず、第五幕第三場の人肉パイと宴会のモチーフをその材源と比較し、人肉パイというレシピも、また、宴会における主人公の衣装も迫真性と演劇性を目的としてこの劇に導入されたと結論する。

「音楽をもっと大きく！：『リア王』（The History of King Lear )第四幕第七場において音楽が挿入される意味について」

本書では，『アンティゴネ』から『作者を探す六人の登場人物』まで，演劇を学ぶ上で「基本の基本」とも言うべき十三本を選定した．本書は，2011年に論創社より刊行された『新訂ベスト・プレイズ―西洋古典戯曲12選』の続編であり，両書とも日本演劇学会分科会西洋比較演劇研究会編として，編集代表はいずれも同会代表の小菅隼人が担当した．

〈腐敗と再生〉は、身体、医、文化のあらゆる局面に見出され、しかも、この主題系は〝連接・重層・逆転〟をその〝性格〟とし、身体医文化論研究の基本的スタンスそのものでもある。身体・医・文化という場において、腐敗は再生へ（再生は腐敗へ）と変転し、腐敗は再生を（再生は腐敗を）包含し、腐敗と見えたものに再生の美が（再生と見えたものに腐敗の醜が）宿るという今日的な感性のあり方を、その知のあり方と共に、本書によって、示そうとした。