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4 2013 - 3 2014

Grant type：Competitive

娯楽市場において近代化の下に誕生した大衆芸能のうち、「おんな子供のもの」と見做されてきた日本の少女歌劇、沖縄の琉球歌劇、台湾の歌舞劇を対象とし、(1)各々の社会の娯楽市場における「近代化」とは何だったのかを解明する、(2)日本の少女歌劇、沖縄の琉球歌劇、台湾の歌舞劇を、各々の国・地域の演劇・芸能史上に定位することを最終的な目的とする。

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4 2011 - 3 2014

Grant number：23652054

Grant type：Competitive

Grant amount：\780000 （ Direct Cost: \780000 ）

The influence relation between kabuki and the Takarazuka revue which is the musical produced in both Japan was considered with the viewpoint of one seaway of the history of Japanese theater through work analysis. The state of existence of a performer's gender and the author working for a particular theater and a star system, etc. were able to have similarity, though it conflicted, and it was able to explain them concretely that it was 100 years which also have dense relationship in the field of theater offer, a technological tie-up, etc. Furthermore, it put on the Japanese theater in modernization, and has also checked the position in the East Asia theater world.

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4 2011 - 3 2013

Grant type：Competitive

Grant amount：\6000000 （ Direct Cost: \6000000 ）

日本の伎楽面のように頭部を覆う仮頭は、仮面に焦点をあてた仮面研究の中に埋没してきたが、アジアの仮頭研究により、仮頭は仮面の仮装性に対して存在そのものが変わる「挿げ替える頭」であり、その出現の時空は宗教性を脱却できないという属性をもつことが分かった。ヨーロッパにも仮頭によって視覚化される存在はあり、アジアの仮頭同様、行列・パレードによって祭などの場に出現する。ユーラシアの仮頭は異なる宗教を纏いつつ人々の日常生活圏の時空の外から来る異形の存在であり、人間の死生観・世界観に基づく世界認知のあり方の共通性を暗示する。仮頭と空間移動に着目し、ユーラシアで共有されていたと思われる汎文化圏的世界認知の実像についての解明を目指す。

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4 2008 - 3 2011

Grant number：20320034

Grant type：Competitive

This study broadly perceives Ukwanshin-udui, including performing arts taken to Yamato, as a self presentation of pre-modern Ryukyu. On the occasion of the Edo-nobori or Satsuma-jyokoku of prince's messenger, performing arts like Uzagaku, To-odori, Ryu-odori etc. were taken along there in order to show those to the feudal lord of Satsuma during the meal served in the diplomatic ceremony called Gozen-Shinjyo. In those performances, Ryukyu's acceptance of the strong influences of Chinese culture was shown simultaneously with the performances of Ryu-odori which reflected the folk customs of upper class. Moreover, regarding the ceremony of lord-vassal diplomatic relation in Ryukyu, the intention of displaying Ukwanshin-udui to China as Ryukyu's mythological history by the Kojisyu, the panphlet for performances.

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4 2007 - 3 2011

Grant number：19401015

Grant type：Competitive

Grant amount：\11000000 （ Direct Cost: \7700000 、 Indirect Cost：\3300000 ）

KATO (alternative head), such as a head worn by the actors performing in Japanese Gigaku, envelops the head, where a mask covers their face. KATO has not been marked off from mask and has been a blind spot in the study of masks. We studied the existing types of artistic performance using KATO in Asian countries, collected and analyzed the data. As a result, it has become clear that the essential property of KATO lies in the fact that it "replaces the head" and it is different from that of mask that offers a disguise by wearing it. Furthermore, as an existence wearing KATO moves in space transcending the difference of race and religion, we have a new theme of study, "a primitive human outlook on the world."

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8 2009 - 8 2010

Grant type：Competitive

Grant amount：\2000000 （ Direct Cost: \2000000 ）

日本演劇の源流に伎楽、舞楽などの外来芸能を想定するのは定説となっている。最古の伎楽は日本演劇史において仮頭を用いる唯一の芸能であるが、関連資料は制限があり、長く研究の死角となってきた。一方チベット仏教のチャムは、中央集権化のために王制の修会として行う、密教要素をもつなど伎楽と共通点をもつ。京成・伝来期の異なる各地のチャムの比較研究により、伎楽をユーラシア大陸規模でとらえ直し、日本演劇の源流研究の死角を埋める。

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4 2009 - 3 2010

Grant type：Competitive

Grant amount：\620000 （ Direct Cost: \620000 ）

文化と産業の両面で近代化を成功させた宝塚歌劇の特性を、地域社会との関係にも注目しつつ、日本の大衆演劇・芸能の中で定位し、海外文化の受容と独自化について多面的に解明するのを目的とし、それを達成するため、宝塚歌劇の外縁を同時代の諸形態、起点時に範とした歌舞伎、宝塚歌劇の構成要素である日本舞踊など日本演劇・芸能の系譜にあるものからのアプローチと、宝塚歌劇における地域社会との関係から探るとともに、それらと宝塚歌劇自体の変容とを時系列的に整理し、基礎作りを行う。

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4 2005 - 3 2010

Grant type：Competitive

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1 2010

Grant type：Competitive

Grant amount：\356000 （ Direct Cost: \356000 ）

国際シンポジウム「日本伎楽とチベット仏教チャムの比較研究ー仮頭に注目して」の報告及びレクチャー＆デモンストレーションの実演。解説者としてブータンのトンサゾンのラマ僧招聘

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4 2006 - 3 2007

Grant type：Competitive

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4 2004 - 3 2007

Grant number：17083019

Grant type：Competitive

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4 2005 - 3 2006

Grant type：Competitive

Grant amount：\500000 （ Direct Cost: \500000 ）

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4 2005 - 3 2006

Grant type：Competitive

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4 2004 - 3 2006

Grant number：16401004

Grant type：Competitive

The purpose of this research is threefold. First, by collecting rhythm patterns found among culture of drums in Japan and its surrounding Asian regions and constructing a databank based on documentation of onomatopoeia which is used as a traditional method of transmission of rhythm patterns in each region, this research seeks to elucidate the interrelationship among drum performances in Asia. Second, by conducting comparative analysis of the systems of onomatopoeia of various regions, it seeks to highlight the musicality of the Japanese people. In addition, this research also seeks to contribute materials concerning the preservation and development of traditional drum performances in Asia and to propose relevant theoretical and methodological issues.
Fieldwork was conducted in China, Vietnam, Indonesia, India and Japan to collect data.
1.We observed festivals, rituals and performing arts as they were performed in actual context by participating in them and were able to make documentation by taking photographs and video films whenever permission could be obtained.
2.We requested that performances be held and documented dance drama, puppet theater and dances in order to obtain materials to be used for analysis of the performing style, or the actual text itself, of performing arts.
3.We learned how to play the drums from people who transmit the technique and collected data about onomatopoeia and the method of transmission by interviewing these people.
From these fieldwork it became clear that there are two cultural styles in onomatopoeia of drums: Indian style, single note onomatopoeia type and Chinese style multi note onomatopoeia type. It also became clear that there are also two levels of cultural area: one which simply imitates the sound of drums, which may be called "simple onomatopoeia of drums," and one that systematizes this simple pattern, or which may be called "systematized onomatopoeia of drums." Both factors are not necessarily related to one another, and overlap in a very complex way. Moreover, it has become clear by comparing these factors show that not only the context of drums but also various contexts associated with drums have an influential role in developing and systematizing onomatopoeia which "listens and imitates" so that it can become a system of transmission.

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4 2004 - 3 2005

Grant type：Competitive

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4 2004 - 3 2005

Grant type：Competitive

Grant amount：\750000 （ Direct Cost: \750000 ）

アジア地域研究所

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4 2003 - 3 2005

Grant number：15401006

Grant type：Competitive

We carried out a three years research on the music of the Uygur people, focusing on musical instruments. Today ' s Uygurs are Islam believers, but in the golden age of the Silk Road interchange, this region prospered as a Buddhist kingdom. We investigated the relation between the music of past and present.
We investigated the depictions of musical performances in the frescoes of Kizil, Kutumula, Kizilgaha, Beziklik and Tuyogo stone caverns, dating from the Buddhist times. As there are many representations of musical instruments we were able to make a comparative study on the form of the musical instruments and to investigate the musical situation.
We focused on musical instruments in the investigation of the modern Uygur music too. We collected data on the form, the manufacturing process and the performing techniques of Rawap, Duttar, Tambr, Gijak, Satar, Huxtar and Kalun. These instruments are in a continuous process of evolution and new instruments are devised, one example being the usage of snake skin as a new material. The developing of new musical instruments is tied always to new musical expressions. Mukam is the finest performance of the Uygur musical culture, and its development involved repeated transformations of the musical instruments used.
We could n't find direct relations however between the musical instruments of the Buddhist times and the musical instruments used today in the Uygur Mukam performances. The Buddhist instruments evolution leads us to the gagaku court instruments of China, Korean Peninsula and Japan.

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4 2003 - 3 2004

Grant type：Competitive

アジア地域研究所

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4 2002 - 3 2003

Grant type：Competitive

個人研究

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4 2001 - 3 2002

Grant type：Competitive

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4 1999 - 3 2001

Grant number：11610329

Grant type：Competitive

Although the masque that remains in the Chinese whole country had a very important meaning when considering not only the history of the China Theater but the China culture, it did not attract attention until recently. Issei Tanaka "the history of the China Theater", the masque accompanying rural ceremony and courtesy could be ripened as a fixed research genre at last.
As a following stage, marking will be asked to attach into culture supposing a certain kind of "basis culture" with a larger viewpoint, while developing the enhanced analysis of structure research of courtesy, a dance and a chant by themes. This research starts it.
Professor Tuo Xiuming from Guizhou Ethnic Institute is asked the co-ordination of the China investigation as an overseas co-operator from the beginning. He looks down a south-west area as "Introduction to the Nuo-xi in south-west" based on the actual result of the Guizhou area investigation of a ten or so past year. Chen Yuping from this institute are developing original viewpoint about Nuo-xi in Qianbei area from an angle of the private sector ceremony and courtesy for a local community. From the research exchange with the Anshun area investigation and the local researcher covering two or more times, Japan side Inaba discovers and presents the exception of a "rehearsal tone" and a "production tone" about the structure of the words and the song of Anshun-Dixi. Moreover, from Nuo-xi study group in the Meitan area and the Folk Religion Office in Daozhen area that is a local cooperator offered the precious materials at the spot.
Although the idea "basis culture" tended to be wide and vague, in this research, each member tried to solve steadily by narrowing down a concrete material setting up the limited period of two years. I believe it is possible to clarify the outline by accumulating each study in the future.

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4 1999 - 3 2001

Grant number：11694008

Grant type：Competitive

"Nuo-xi", the farm village ritual, which remains in the whole China, is very important when considering not only the history of the Chinese Theater but the Chinese culture. The "Nuo-xi" was developed in the form indivisible from a folk ritual, a ceremony and private sector religion in a farm village, therefore the past literati and the researcher tended to overlook them. It is clear that it is folkloric effective data as a " living fossil of demon purification event", besides, there is a meaningful problem included when considering generating of theater. This is clear in the "the history of the Chinese theater" by Mr. Issei Tanaka.
Researchers paid attention to the area which corresponds to a marginal district for successive regime of Chinese southwest. Then analyzed "Anshun Di-xi" with strong dramatic aspect that remained in the stationing village of the army dispatched in Ming era from the center and "Nuo-xi" with strong ritualistic aspect that distributed on the outskirts. In this research, a person in charge visited the filed repeatedly and analyzed a material deeply. I believe this could lead the foundation to a new idea.
During a research period, Hosoi mainly conducted listening comprehension investigation 3 times at Duangong in Sichuan Province, and many opinions were searched from many scholars through an exhibition held at theater museum which display the whole aspect of masks and puppets. About Qianbei district, Ito, Hashimoto, and Inaba investigated Meitan, Zunyi, etc., and active arguments were exchanged with a local researcher called the Meitan Zunyi study group. An overseas joint researcher, Guizhou Ethnic Institute investigated the document and the tool used for ceremony courtesy mainly around Daozhen of Qianbei as a new investigation ground. About the Anshun area, Inaba investigated verious places on an angle of original viewpoint. In this report, Hosoi reports the Duangong of Sichuan Province, and Inaba reports a stratified overlap of the entertainment of Narrative Literature in Anshun area in detail.

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4 1995 - 3 1997

Grant type：Competitive

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4 1995 - 3 1997

Grant type：Competitive

日本の初期説教節を含む人形浄瑠璃には宗教的な内容を持つものが多く、17世紀に正本が刊行された「目連記」もあるが、その実態はよく分からない。日本と交流の盛んであった中国で、泉州の糸操り人形戯が清代の台本による「目連戯」を復活するにあたり、日本の説教節のほか民俗芸能における目連関係の芸能と比較検討を行う。

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4 1992 - 3 1995

Grant type：Competitive

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4 1991 - 3 1994

Grant type：Competitive

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