겐자이노(現在能) <다니코(谷行)>의 등장인물 자기소개 기법

Abstract

This paper is a study about the analysis of the structure and self-instroduction of Taniko belonging to Japanese Noh. The Studies on Taniko in Korea have largely been started from two perspectives. The first perspectives are the studies related to Brecht and about Japanese Noh's impact on his epic theatre techniques. They conclude that the Lehrstücke was born because of translation errors in <Taniko>(Arthur Waley, 1921), the English version of original Taniko and <Taniko>(Elisabeth Hauptmann, 1929), the German version based on the English version. The second perspective is independent of Brecht and are analysis of work based on ascetic practice story of Yamabushi(山伏) party of Japan Shugendo(修驗 道). These two perspectives take note that young Matsuwaka(松若) gets taniko(谷行) in according to the Great Custom because of a serious illness during the journey to the mountain. However its English version ignored the ending where the rule of Great Custom collapse by omitting the part of Matsuwaka's revival in Nochiba(後場) from the translation. So the motive for Yamabusi's Mineiri(峯入), the rule of Great Custom and the boy's death have become indistinct. Nevertheless, ‘Einverständnis' in the Lehrstücke, the theme is applied in <Der Jasager> and so Brecht dramatize the revision and <Der Neinsager>. Another perspective analyzed the first half and the latter half by focusing on ascetic practice story of Yamabushi(山伏) party. Prior to analyzing <Taniko> it requires the understanding of Noh. In the Arthur Waley's English version of Taniko, he omitted Yakugara(役柄, Role type). For example, He translated Sotsuno Azari, the Waki role into simply 'a teacher'. Korean studies about this part often followed Jeami's Mugen-Noh as their standard for interpretation. But in maeba(前場), maejite(前仕手), the protagonist of Noh stage is not Matsuwaka but his mother(the maejite) Nochijite, the protagonist in nochiba is En no Gyōja(役行者) who revive Matsuwaka by ordering Gigaku Kijin(伎樂鬼神, the nochijite) in the climax. If this is Mugen-Noh Matsuwaka's mother should be the avatar of Gigaku Kijin. Therefore, the distinction between Mugen-Noh and Genjai-Noh(現在能) is required. Taniko represents Girinomono(鬼 の物), the fifth stage, and it is Genzai-Noh consisted of eight parts. In the original <Taniko>, There is no Sidai(次第) before Nanori(名ノリ). English version is the same. But I take note that in the Sich-Nennen of Brech's <Der Jasager>, there is a chorus that is not Sidai before Nanori.