Academic literature on the topic 'Bunraku'
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Journal articles on the topic "Bunraku"
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Butkie, Joseph D. "In Bunraku." College English 47, no. 3 (1985): 262. http://dx.doi.org/10.2307/376775.
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Kamrowska, Agnieszka. "Teatr bunraku w filmie „Lalki” Takeshiego Kitano." Kwartalnik Filmowy, no. 87-88 (December 31, 2014): 171–78. http://dx.doi.org/10.36744/kf.2392.
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Film Lalki (Dōruzu, 2002) Takeshiego Kitano na wielu poziomach wykorzystuje motywy japońskiego teatru lalkowego bunraku. Punktem wyjścia analizy motywów teatru bunraku w filmie japońskiego twórcy jest sztuka Posłaniec do piekieł autorstwa największego dramatopisarza bunraku – Monzaemona Chikamatsu. Prócz fragmentu przedstawienia tego dramatu oraz jego motywów fabularnych reżyser umieścił w swoim dziele także inne elementy formalne teatru lalkowego, jak konstrukcja postaci, wygląd i kostiumy aktorów czy wreszcie michiyuki (przejście drogą) jako podstawę struktury narracyjnej całego filmu. W efekcie powstał obraz niezwykle hermetyczny, zanurzony w specyficznej estetyce teatru lalkowego dla dorosłych, który w Japonii stopniowo popada w zapomnienie.
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SHIN, Donguk, Takahide MURAMOTO, Shuji HASHIMOTO, and Sadamu OHTERU. "Computer BUNRAKU System." Journal of the Robotics Society of Japan 11, no. 7 (1993): 1020–27. http://dx.doi.org/10.7210/jrsj.11.1020.
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Boyd, Julianne, and Barbara C. Adachi. "Backstage at Bunraku." Asian Theatre Journal 7, no. 1 (1990): 116. http://dx.doi.org/10.2307/1124044.
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Brazhnikova Tsybizova, Violetta. "El Teatro Bunraku:." Revista Kaylla, no. 1 (November 2, 2022): 167–82. http://dx.doi.org/10.18800/kaylla.202201.009.
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El objeto del presente trabajo es uno de los tres grandes géneros tradicionales del teatro japonés, el teatro de marionetas Bunraku. A lo largo de esta investigación se presenta cómo y dónde surgió el teatro de marionetas en Japón y se observan las razones por las cuáles cambió su estructura de manera sustancial en el siglo XVIII. También se analizan las circunstancias que rodean el cambio del nombre de este género teatral en el siglo XIX. Debido a que entre los estudiosos este género teatral se considera una de las fuentes de las cuales ha bebido el teatro Kabuki, entre otras, en este artículo se observa el desarrollo paralelo del teatro de marionetas Bunraku y el teatro de los intérpretes humanos Kabuki durante los siglos XVII y XVIII. Por ello, además, se mencionan ambos géneros teatrales y se examinan sus similitudes y las diferencias más destacadas entre ambos. Asimismo, se presenta de manera concisa la figura de Chikamatsu Monzaemon, uno de los dramaturgos más importantes de la escena nipona, y se profundiza sobre su influencia en el establecimiento de los valores estéticos que siguen rigiendo el teatro de marionetas todavía en el siglo XXI. También se consideran algunas de las manifestaciones similares en el ámbito de las artes escénicas en España y se indaga en la influencia que ha ejercido el teatro Bunraku en las mismas.
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Senda, Yasuko. "Bunraku – patrimônio cultural imaterial." Móin-Móin: Revista de estudos sobre teatro de formas animadas 1, no. 15 (2018): 196–209. http://dx.doi.org/10.5965/2595034701152016196.
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Senda, Yasuko. "Bunraku – intangible cultural heritage." Móin-Móin: Revista de estudos sobre teatro de formas animadas 1, no. 15 (2018): 210–19. http://dx.doi.org/10.5965/2595034701152016210.
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Hirayama, Tosio. "The National Bunraku Theater." JOURNAL OF THE ILLUMINATING ENGINEERING INSTITUTE OF JAPAN 71, no. 5 (1987): 293–96. http://dx.doi.org/10.2150/jieij1980.71.5_293.
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Bizet, François. "Au bunraku. Journal d’une rencontre." Ebisu 45, no. 1 (2011): 87–117. http://dx.doi.org/10.3406/ebisu.2011.1741.
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Skipitares, Theodora. "The Tension of Modern Bunraku." PAJ: A Journal of Performance and Art 26, no. 1 (2004): 13–21. http://dx.doi.org/10.1162/152028104772624883.
Full textDissertations / Theses on the topic "Bunraku"
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DURACHER, MERRY HUGUES. "Investigations historiques, esthetiques et philosophiques pour une anthropologie du theatre ningyo-joruri d'osaka de 1734. (des origines du theatre bunraku au bunraku comme theatre des origines)." Paris 3, 1995. http://www.theses.fr/1996PA030073.
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Dans le theatre mingyo-joruri, dit "bunraku" depuis le 19e siecle, tous les schemes s'y retrouvent toujours en un modele unique quel que soit le genre dramatique auquel appartiennent les pieces representees. Ce modele comprend la scenographie, la technique de manipuylation, la technique de narration et la disjonction des elements d'expression. Seule emerge du magna esistentiel artistique une substance semantique, fruit de la corrdination des actants, de l'acteur et du personnage, une idee d'homme mythique incontestablement, cette esthetique se rattache au passe primitif, lorsque l'animation des statuettes etait independante de l'incantation. C'est une forme theatrale du rituel originel, profane, certes, mais indeniablement caracteristique des cerenomies mediumniques ancestrales. En effet, les artistes du migyo-joruri de 1734 sont les sorciers qui ont libere les formes de la norme et qui ont desentrave des forces de ces formes, forces proches de celles du monde originaire. Ainsi, le geste et le verbe sont-ils apprehendes comme les actes essentiels de l'homme primordial. Le monde bunrakien est structurellement immuable, irremediablement clos, il s'y ebat un acteur artificiel specifiquement humain, la marionnette, medium conventionnel qui a traverse le temps, qui est ancre dans le passe mythique et qui est tout a fait present ici, sorte d'etranger proche ecart de civilisation, mais pas fracture culturelle, decalage historique, mais concordance semantique. Ce theatre-la qui combine harmonieusement des formes de haute tradition d'une facon extraordinaire est effectivement aussi une expression actuelle de l'homme originel, modele generique. C'est un personnage archetypal qui flotte dans l'espace theatral bunrakien et le spectateur peut transferer cette figure mythique en son mental afin de la transposer ici et maintenant comme modele esthetique<br>In the ningyo-joruri theatre, celled bunraku from the 19th century on, all the schemes always mergie into one patters, no matter what dramatic genre the staged plays belong to such pattera includes thue scenography, the manipulative and narrative technique, and the disjunction betqween the elements of expression. Out of this artistic and existential brew, there emerges but one semantic substance, the offspring of the communion between the partakers, actor and character, the concept of mythical man. This aesthetic pattern is undoubtedly linked to the primitve past, when animating statuettes was still distinct from incantation. It is theatrical form of the original ritual, admittedly a profane one, but clearly representative of the ancestral mediumnistic ceremonies. Thus, the artists of the 1734 mingyo-joruri are the sorceres who have unskackled the forms from the norm, and who out of those forms, have unleashed forces akin to those of the primitive world. This , speech and action can be apprenhended as the fundamental acts of essential man. The burnraku wold is structurlly immutable and closed for ever, its iformed by a mock, yet fully human actor, the puppet, a conventional medium that reaches throughout time, being rooted in a mytical past but now totally present, a familiar stranger of sorts. Hernce a civilisation gap, but no cultural break, a historical interval, but semantic unity. Besides, such theatre harmopniously combining highlytraditional schemes in an extra-ordinary way, is effectively the modern expression of primeval man as a generic model. He is anb archetypal charater hunting the bunraku space, and the spectoator's mind can absorb this mythical figure, so as to transfer so as to transfer it here and now as an aesthetic model
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Ferreira, Gustavo Henrique Lima. "O Sangyo em Dolls: um encontro do Bunraku com Takeshi Kitano." Universidade Federal do Rio Grande do Norte, 2013. http://repositorio.ufrn.br:8080/jspui/handle/123456789/12450.
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Previous issue date: 2013-03-06<br>Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior<br>This work aims to investigate the relationship between the Bunraku theater and the film Dolls (2002), by the Japanese director Takeshi Kitano. To do so, it was initially done a theoretical study of this theater, detailing its key elements, and thus allowing a direct analysis of the film to be made. The main objective here was to reveal the film‟s connections with the Bunraku.
The Sangyo refers to the simultaneous presence of three arts in the Bunraku theater: the narrative, the music and the manipulation of puppets. In Dolls, the director Takeshi Kitano presents a narrative through three different stories, all built with references to the Bunraku. As in the theater the three distinct arts harmonize on stage, in Dolls three separate stories will perform in harmony within the film.
By confronting the Bunraku Theater with the film Dolls, the intention is to establish the connections between the scenic language of the Bunraku, the dramaturgy of Chikamatsu and also the cinema of Kitano. These connections allow to the understanding of how characteristics of a secular art, governed by strong rules and conventions, can be presented again through another language: the cinematic language and its particular set of codes and conventions<br>Este trabalho tem por finalidade investigar as rela??es existentes entre o Teatro Bunraku e o filme Dolls (2002) do diretor japon?s Takeshi Kitano. Para isso, foi feito inicialmente um estudo te?rico desse teatro, elencando seus principais elementos, permitindo ent?o, uma an?lise direta do filme, buscando revelar suas conex?es com o Bunraku.
O sangyo faz refer?ncia ? presen?a simult?nea de tr?s artes no teatro Bunraku: a narrativa, a m?sica e a manipula??o de bonecos. Em Dolls, o diretor Takeshi Kitano apresenta uma narrativa por meio de tr?s hist?rias distintas, todas elas constru?das com refer?ncias ao Bunraku. Assim como nesse teatro tr?s artes distintas se harmonizam no palco, em Dolls tr?s hist?rias independentes v?o se apresentar em harmonia no filme.
Ao confrontar os dados do teatro Bunraku com os dados do filme Dolls, o objetivo ? estabelecer as conex?es entre a linguagem c?nica do Bunraku, a dramaturgia de Monzaemon Chikamatsu e o cinema de Takeshi Kitano. Estas conex?es permitem compreender como caracter?sticas de uma arte secular, regida por fortes regras e conven??es, podem ser reapresentadas atrav?s de outra linguagem, no caso a linguagem cinematogr?fica
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Guiot, Lise. "Le bunraku et ses nouveaux visages sur la scène française contemporaine." Thesis, Montpellier 3, 2016. http://www.theses.fr/2016MON30001.
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Cette thèse a pour but d'envisager en miroir le ningyô-jôruri, dit bunraku, et ses réceptions sur les scènes françaises contemporaines, ainsi d'identifier les raisons de la fascination et les influences sur les créations théâtrales.Une première partie se concentre sur l'art tricentenaire japonais et plus spécifiquement sur le collectif d'artistes, le Bunraku Kyôkai du Théâtre du Bunraku à Ôsaka. Trois arts, en étroite collaboration, le composent : le gidayû-bushi (qui associe voix et instrument) et les marionnettes manipulées à trois manipulateurs (technique dite sanninzukai).Le deuxième mouvement retrace le voyage de cet art dans l'imaginaire de lettrés et hommes de théâtre français, Paul Claudel, Jean-Louis Barrault, Roland Barthes, Georges Banu ; dans les travaux d'universitaires, Jacques Pimpaneau, Jean-Jacques Tschudin ; de traducteurs, René Sieffert et Jeanne Sigée. Figures de passeurs, ils rencontrent cet art, l'érigeant parfois en contre-modèle du théâtre français,dont la figure centrale est l'acteur, parfois en utopie théâtrale.Enfin, sans se risquer à une véritable adaptation, les metteurs en scène du monde de la marionnette (Philippe Genty, Dominique Houdart, Michael Meschke) puis plus largement des univers du théâtre et de la danse transposent, empruntent, citent dans un jeu subtil d'éloignement et d'intimité avec l'art originel. Les nouveaux visages du bunraku sur les plateaux français portent les interrogations de la scène contemporaine : quête idéale de théâtralité (Ariane Mnouchkine), perspective de l'hyperréalisme (Bérangère Vantusso), tentation d'accès à l'invisible (Claude Régy)<br>This work aims at considering ninjyô-jôruri -or bunraku- on the one hand and how French stages integrated it on the other hand. By doing so, we will understand better the fascination for it and explain how it influenced theatrical creations.The first part focuses on this three-century-old art and more precisely on a group of artists, the Bunraku Kyôkai from the Bunraku Theatre in Ôsaka. Bunraku is composed of three closely linked arts: gidayû-bushi (which couples voices and instruments) and puppets manipulated by three artists (sanninzukai technique).The second part tells how French intellectuals like Paul Claudel, Jean-Louis Barrault, Roland Barthes and Georges Banu made bunraku their own. Jacques Pimpaneau and Jean-Jacques Tschudin also brought a new light through their academic works, as well as translators such as René Sieffert and Jeanne Sigée. They all acted as go-betweens. They sometimes presented Bunraku as a counter-model for French theatre -in which actors are a central figure- and sometimes as a theatrical utopia.To finish, puppet stage directors (Philippe Genty, Dominique Houdart, Michael Meschke) although they didn't venture into a real adaptation, started a dialogue with bunraku by transposing, borrowing from or quoting some aspects of it. The world of theatre and dance followed a similar suit. The new faces of bunraku in France are interrogating the contemporary stage: it's an ideal quest for theatricality (with Ariane Mnouchkine), a perspective for hyperrealism (with Bérangère Vantusso) and an attempt to reach the invisible (with Claude Régy)
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Mori, Martina <1993>. "Burattini e raffigurazioni dell'essere umano in Giappone: dal bunraku alla puppet animation." Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/12607.
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Abstract
Tema:
L’argomento che vorrei affrontare nella mia tesi è quello della raffigurazione della figura umana in Giappone dal periodo Nara al periodo Heisei. Vorrei parlare di come le bambole siano state usate fin da epoche antiche per raccontare delle storie, arricchendo così il panorama delle arti visive giapponesi, grazie anche ai viandanti che viaggiando per tutto il paese diffusero quest’arte. In particolare dal periodo Edo in poi si svilupperà il bunraku, teatro dei burattini, tipologia di teatro che unisce tre pratiche, l’uso dei burattini, lo shamisen e la narrazione. Col passare del tempo il bunraku si raffina sempre di più, modellando i suoi burattini nella forma, nel carattere e nell’espressione, creando così vari tipologie fisse e, poiché ogni personaggio ha le sue personali caratteristiche, non ci sono altri burattini che gli somiglino. Dal periodo Edo fino al giorno d’oggi per coloro che manovrano i burattini la difficoltà maggiore sta non tanto nel muoverli, quanto piuttosto nel trasmettere le emozioni dei personaggi che interpretano. Inoltre nel periodo Showa, è nata la puppet animation, grazie a Mochinaga Tadahito, regista e padre di questo nuovo tipo di animazione. Egli inizia a sperimentare questo nuovo stile e tra i suoi assistenti ci saranno anche Kawamoto Kihachiro e Okamoto Tadanari, che lavoreranno attivamente a questo nuovo progetto, assorbendo conoscenze che metteranno poi in pratica nei loro film. Da questo momento la puppet animation verrà usata anche nei programmi televisivi, in particolare in Giappone divenne un genere molto famoso e apprezzato. Il pubblico non è solo infantile, anzi, questi film o serie tv sono state fatte appositamente per gli adulti, per esempio nel 2016 è stato lanciato sul mercato un puppet show intitolato Thunderbolt Fantasy, nato da una collaborazione tra registi giapponesi e taiwanesi e, siccome ottenne subito un gran successo, nel 2018 è stata programmata l’uscita della seconda serie. Oltre a questo, anche il svariati ambiti, vedremo come al posto di esseri umani si privilegerà la figura di bambole o burattini, realizzando nuove prospettive per il futuro e nuove forme d’arte.
Quesito di ricerca:
I burattini sono sempre stati usati in tutto il mondo, ma a seconda delle circostanze o dello scopo con cui venivano usate, la loro funzione cambiava. È diverso il modo in cui vengono costruite, il modo in cui comunicano con noi uomini ed è interessante vedere come, ad esempio nel caso del teatro, vengano addirittura usate in sostituzione dell’uomo stesso. Nel caso del Giappone i burattini sono stati usati fin dai tempi antichi come simulacri in grado di attirare su di sé gli spiriti malvagi, in modo da proteggere le persone come una sorta di amuleto. Ma oltre al suo ruolo magico-religioso, le bambole avevano anche un ruolo giocoso, ludico e di puro intrattenimento. In seguito i burattini vennero usati per raccontare storie e grazie al bunraku, che usa burattini di una sublime bellezza, il ruolo del burattino cambia ancora una volta. Il panorama si arricchisce anche con l’avvento della puppet animation e con il commercio delle BJD.
Penso che sia importante parlare di questo argomento, poiché vivendo in una società sempre più tecnologica, meccanizzata e aggiungerei a volte incapace di stupirsi, confrontarsi con un burattino, figura inanimata, ma pur sempre creata da noi, potrebbe mettere in evidenza qualcosa che tendiamo a nascondere o che non vogliamo vedere. Tuttavia la funzione dei burattini non si limita solo a questo, ma riescono a portarci in un mondo fantastico, facendoci sognare ad occhi aperti, come se loro fossero davvero umani. Quindi sebbene il burattino sia un oggetto inanimato, può risvegliare in noi l’umanità che stiamo via via perdendo.
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Castro, Kely Elias de. "Trinta anos à beira do abismo : o grupo Sobrevento, do virtuosismo da animação de bonecos ao objeto puro /." São Paulo, 2018. http://hdl.handle.net/11449/154425.
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Orientador(a): Wagner Francisco Araújo Cintra<br>Banca: Agnaldo Valente Germano da Silva<br>Banca: Luís Carlos Ribeiro dos Santos<br>Banca: Dalmir Rogério Pereira<br>Banca: Reynúncio Napoleão de Lima<br>Resumo: O grupo Sobrevento é um dos grandes expoentes do Teatro de Animação brasileiro e, em 2016, completou 30 anos de história conduzido por uma ideologia particular que preconiza a busca pelo constante desafio artístico. Por mais de duas décadas, o coletivo dedicou-se ao estudo de diferentes técnicas de manipulação de bonecos, com o intuito de reinventar seu teatro a cada espetáculo, e se tornou referência na arte da animação. Contudo, após 25 anos, passou a se dedicar ao Teatro de Objetos, vertente que utiliza o objeto puro, abandonando o boneco e o intuito de conferir-lhe vida. O presente trabalho propõe uma investigação da trajetória do grupo Sobrevento com o objetivo de evidenciar as motivações estéticas e ideológicas que causaram a transição do Teatro de Bonecos ao Teatro de Objetos. Para tanto, analisa a primeira década da companhia, abordando os principais aspectos que influenciaram sua formação e suas escolhas estéticas. Examina as técnicas utilizadas no decorrer da carreira do grupo, destacando o estudo da Manipulação Direta, inspirada no Bunraku, bem como as experiências realizadas com o Boneco de Luva Chinês e com o Mamulengo. A discussão sobre o abandono da animação na história da companhia ocorre por meio do estudo dos espetáculos São Manuel Bueno, Mártir (2013), Sala de Estar (2015) e Só (2016). À luz da trajetória do objeto no teatro moderno e contemporâneo... (Resumo completo, clicar acesso eletrônico abaixo)<br>Abstract: Sobrevento theater group is one of the great exponents of the Brazilian Puppet Theater. In 2016, it has completed 30 years of history driven by a particular ideology that advocates the search for constant artistic challenge. For more than two decades, this group has dedicated itself to the study of different puppet manipulation techniques. Its intention has always been the reinvention of its own theater in each play, and it has become an important reference in the art of puppetry. However, after 25 years, the group began to explore the Theater of Objects, which uses the pure object, abandoning the puppet and the purpose of giving life to it. The present work proposes an investigation about the trajectory of Sobrevento group in order to highlight the aesthetic and ideological motivations that caused the transition from Puppet Theater to Theater of Objects. Therefore, it analyzes the first decade of the company, addressing the main aspects that influenced its formation and its aesthetic choices. All techniques handled during the group's career are considered, but there is further explanation about the study of Direct Manipulation, inspired by Bunraku, as well as the experiments with Chinese Glove-Puppet and Mamulengo. The discussion about the abandonment of puppetry in the company's history happens through the study of three plays, Saint Manuel Bueno, Martyr (2013), Living Room (2015) and Alone (2016). In the light of object trajectory in modern and contemporary theater... (Complete abstract click electronic access below)<br>Doutor
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Petty, John E. "Stage and Scream: The Influence of Traditional Japanese Theater, Culture, and Aesthetics on Japan's Cinema of the Fantastic." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc68031/.
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Although widely viewed in the West, Japanese films are often misunderstood, as they are built on cultural, theatrical, and aesthetic traditions entirely foreign to Western audiences. Particularly in regards to Japan's "fantastic" cinema - including giant monster pictures, ghost stories, and "J-Horror" films - what is often perceived as "cheap" or "cheesy" is merely an expression of these unique cultural roots. By observing and exploring such cultural artifacts as kabuki, noh, and bunraku - the traditional theatrical forms of Japan - long-standing literary traditions, deeply embedded philosophical beliefs, and even more recent developments such as the controversial dance form butoh, these films, including Gojira (1954), Daimajin (1966), Kwaidan (1964), Onibaba (1964), Testuo the Iron Man (1989), and Ju-On (2002), can be placed in their proper perspective, leading to a reevaluation of their worth not merely as commercial products, but as uniquely Japanese expressions of that society's unique place in world culture.
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Martins, Raquel Maria Gonçalves. "Um olhar sobre o Espólio Ningyö Jöruri do Museu do Oriente : marionetas japonesas contadoras de histórias na Coleção Knomk On." Master's thesis, 2016. http://hdl.handle.net/10400.14/22051.
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O presente trabalho pretende contribuir para o conhecimento e divulgação do teatro de
marionetas japonês e da cultura japonesa, através do estudo do conjunto de marionetas de
vara oriundas do Japão do Museu do Oriente em Lisboa.
Até à data estes objectos nunca foram estudados, existindo poucas fontes sobre os mesmos,
o que justifica a sua análise.
Com esta dissertação, temos como objectivo dar um contributo para o conhecimento e
entendimento das peças estudadas, delineando o caminho para uma futura exposição das
mesmos ao público. Para tal, procedemos a uma contextualização do surgimento e
evolução do teatro de marionetas do ponto de vista histórico, analisámos as características
gerais das marionetas e da performance, aprofundámos o papel dos diferentes
intervenientes, reflectimos sobre as temáticas abordadas nas peças e comparámos a
colecção com outras a nível internacional.
Procurámos também aprofundar o conhecimento sobre a colecção Kwok On e sobre a
aquisição dos objectos estudados.
O teatro é uma arte universal e transversal a várias culturas, que permite expressar
sentimentos e contar histórias, ajudando a compreender o outro e a entender os desígnios
do universo. O Ningyō Jōruri reflecte vários aspectos culturais, merecendo por isso uma
apreciação cuidada e detalhada, para um melhor entendimento e conhecimento da cultura
japonesa.
Para a realização desta investigação, procedemos para além da análise dos objectos nas
reservas a trabalho de campo no Japão, bem como a extensa consulta bibliográfica sobre a
matéria e a vários contactos internacionais.<br>The present work aims to contribute to the knowledge and spread of the japanese puppet
theatre and the japanese culture, through the study of the collection of japanese rod
puppets, from the Orient Museum in Lisbon.
Until the present these objects were never studied and there are very few sources about
them, which justifies their analysis.
With this dissertation, we purpose to contribute to the knowledge and understanding about
the studied items, preparing the way to a future exhibition to the public. To accomplish
this, we’ve proceeded to a contextualization of the appearance and evolution of the puppet
theatre in Japan, from an historical point of view, we’ve also analysed the general
characteristics of the puppets and the performance, investigated the role of the different
participants, reflected about the thematic of the plays and we’ve also compared the
collection with others worldwide.
Our aim is also to improve the knowledge about the Kwok On collection and the
acquisition of the objects.
Theatre is a universal art, transversal to different cultures, that allows to express feelings
and to tell stories, helping to understand the other and the plans of the universe. Ningyō
Jōruri represents several cultural issues, deserving consequently a proper and extensive
examination.
To accomplish this investigation, behind the analysis of the objects we carried out field
work in Japan, as well as extensive bibliographic consultation and several international
contacts.
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Ryndová, Jana. "Drama "Jošicune mezi květy sakur". Minamoto no Jošicune jako stratég, dvořan a literární mýtus." Doctoral thesis, 2012. http://www.nusl.cz/ntk/nusl-309490.
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In her doctoral thesis the author would like to present the play Yoshitsune and the Thousand Cherry trees (Yoshitsune senbonzakura) as a unique piece of Japanese drama which has a great complexity and an outstanding place within the corpus of Japanese literature. Even if the play can be compared to Chushingura mono in its importance, Yoshitsune senbonzakura has not been widely translated to western languages. There are two exceptions, however: the English translation (Jones, Jr. 1993) and the German translation (Klopfenstein 1982). While comparing the two translations and using the most full original texts available (as preserved in Takeda Izumo and Namiki Sosuke Joruri Collection and Yuda Yoshio's Bunraku Joruri Collection), the author's goal is to present the play to Czech readers and its interpretation to Czech scholars. As for the flow and structure of the interpretation of Yoshitsune senbonzakura the author begins with the historical background of the legend of Minamoto Yoshitsune, capturing the life of Yoshitsune from the time of Heiji rebellion (1159) when he was born to his death in 1189. Next the author concentrates on the legend itself as it evolved within the course of Japanese literature. With a shift from the court literature of Heian period towards the battlefield stories and...
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Ryndová, Jana. "Drama "Jošicune mezi květy sakur". Minamoto no Jošicune jako stratég, dvořan a literární mýtus." Doctoral thesis, 2013. http://www.nusl.cz/ntk/nusl-329282.
Full textAbstract:
In her doctoral thesis the author would like to present the play Yoshitsune and the Thousand Cherry trees (Yoshitsune senbonzakura) as a unique piece of Japanese drama which has a great complexity and an outstanding place within the corpus of Japanese literature. Even if the play can be compared to Chushingura mono in its importance, Yoshitsune senbonzakura has not been widely translated to western languages. There are two exceptions, however: the English translation (Jones, Jr. 1993) and the German translation (Klopfenstein 1982). While comparing the two translations and using the most full original texts available (as preserved in Takeda Izumo and Namiki Sosuke Joruri Collection and Yuda Yoshio's Bunraku Joruri Collection), the author's goal is to present the play to Czech readers and its interpretation to Czech scholars. As for the flow and structure of the interpretation of Yoshitsune senbonzakura the author begins with an analysis of the historical background of the legend of Minamoto Yoshitsune, capturing the life of Yoshitsune from the time of Heiji rebellion (1159) when he was born to his death in 1189. Next the author concentrates on the legend itself as it evolved within the course of Japanese literature. With a shift from the court literature of Heian period towards the battlefield...
Books on the topic "Bunraku"
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Kokuritsu, Bunraku Gekijō (Osaka Japan). Kokuritsu Bunraku Gekijō shozō bunraku no kashira. Kokuritau Bunraku Gekijō, 2006.
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Gekijō, Kokuritsu Bunraku. Kokuritsu Bunraku Gekijō shozō bunraku no kashira. Kokuritau Bunraku Gekijō, 2006.
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Tada, Hidetoshi, and Sachitake Kōnoike. Bunraku hihyō shūsei. Ōsaka Daigaku Shuppankai, 2019.
Find full textBook chapters on the topic "Bunraku"
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"bunraku, n." In Oxford English Dictionary, 3rd ed. Oxford University Press, 2023. http://dx.doi.org/10.1093/oed/4290777871.
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Odanaka, Akihiro, and Masami Iwai. "The dramaturgy of bunraku." In Japanese Political Theatre in the 18th Century. Routledge, 2020. http://dx.doi.org/10.4324/9780429054761-2.
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"60. The Art of Bunraku." In Interviews With Northrop Frye, edited by Jean O'Grady. University of Toronto Press, 2008. http://dx.doi.org/10.3138/9781442688377-064.
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Wanzo, Rebecca. "5. Black Nationalism, Bunraku, and Beyond:." In Multicultural Comics. University of Texas Press, 2010. http://dx.doi.org/10.7560/722811-007.
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Corrigan, Timothy. "Describing . . . Vacancy: Throne of Blood (Akira Kurosawa, 1957)." In Describing Cinema. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197625354.003.0004.
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Abstract Focusing on the motif of vacancy, an analysis of the use of space and movement in the sequence that leads up to and includes the murder of the Lord. The discussion relates to the Japanese traditions of Noh theatre and Bunraku theatre, as described by Roland Barthes.
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"Acknowledgments." In The Bunraku Puppet Theatre of Japan. University of Hawaii Press, 2017. http://dx.doi.org/10.1515/9780824837259-001.
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"Introduction." In The Bunraku Puppet Theatre of Japan. University of Hawaii Press, 2017. http://dx.doi.org/10.1515/9780824837259-002.
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"1. The Genji Vanguard In Ōmi Province." In The Bunraku Puppet Theatre of Japan. University of Hawaii Press, 2017. http://dx.doi.org/10.1515/9780824837259-003.
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"Mount Imo and Mount Se: Precepts For Women." In The Bunraku Puppet Theatre of Japan. University of Hawaii Press, 2017. http://dx.doi.org/10.1515/9780824837259-004.
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"3. Vengeance at Iga Pass." In The Bunraku Puppet Theatre of Japan. University of Hawaii Press, 2017. http://dx.doi.org/10.1515/9780824837259-005.
Full textConference papers on the topic "Bunraku"
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Arai, Kiyoshi. "Cyber Bunraku." In ACM SIGGRAPH 97 Visual Proceedings: The art and interdisciplinary programs of SIGGRAPH '97. ACM Press, 1997. http://dx.doi.org/10.1145/259081.259184.
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Dong, Ran, Yuying He, Dongsheng Cai, et al. "Interacting with Humanoid Robots: Affective Robot Motion Design with 3D Squash and Stretch Using Japanese Jo-ha-kyu Principles in Bunraku." In SIGGRAPH '21: Special Interest Group on Computer Graphics and Interactive Techniques Conference. ACM, 2021. http://dx.doi.org/10.1145/3450623.3464669.
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Pascual Galbis, Pau. "Animación, marionetas y teatro Kabuki. El discurso cinematográfico de Eisenstein como herramienta etnográfica en la cultura japonesa." In V Congreso Internacional de Investigacion en Artes Visuales ANIAV 2022. RE/DES Conectar. Editorial Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/aniav2022.2022.15498.
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El montaje filosófico propuesto por S. M. Eisenstein, funciona como un método válido de inserción antropológica en la cultura japonesa; en concreto, del teatro Kabuki. En el cual, el sonido, el movimiento, el espacio y la voz, funcionan como elementos de igual importancia cognitiva, que estimulan artísticamente al público. Además, la actuación en general, se efectúa a diferencia del teatro occidental, sin transiciones, con una destacada importancia del minimalismo escénico, del maquillaje, y vestuario. Significando a más, grados emocionales de los personajes, semejantes a las teorías extáticas del cineasta ruso. También señalar, la transformación artificial de los intérpretes en marionetas, -teatro Bunraku - e imitando sus gestos y muecas esenciales, en consonancia con el relato. De la misma manera, los actores japoneses emplean unos movimientos corporales siempre fragmentados, considerados y delicados. A veces, con una extremada lentitud, similares a las funciones del teatro Noh. Unas coreografías exactas y extraordinarias, muy cercanas a la biomecánica de Meyerhold y a los ensayos sobre las marionetas de Kleist, que tanto inspiraron al director soviético en su época de las vanguardias. Igualmente, en el Kabuki, se observa un efecto de animación, conseguido con la superposición gradual de los escenarios y cosméticos faciales, que produce en el espectador, la sensación del transcurso fluido del tiempo, sin interrupciones. En suma, conceptos y formas que son mismamente encontradas, en las películas, dibujos, ideas y técnicas cinematográficas de Eisenstein, formuladas a través de los años, e influidas en parte por dichas poéticas. Por último, esta comunicación pretende indagar la relación existente entre una etnografía nipona y la estética fílmica de Eisenstein, realzando sus aportaciones animáticas, somáticas y otros ataderos intelectuales disciplinares.