일본 제국의 문화 통치와 로쿄쿠(浪曲) 전쟁물 연구－전시(戰時) 로쿄쿠의 성립을 중심으로－

Abstract

When the Empire of Japan planned cultural reign, why did they choose Naniwabushi(浪花節, 浪曲) over the representative traditional performing arts of Noh(能) and Kabuki(歌舞伎)? How did the Rokyoku organization come to cooperate with the Japanese Empire? This study examines and reviewed that trajectory. The origin of Japan’s Naniwabushi cannot be clearly determined. It was formed by the fusion of traditional sound entertainment and, through various changes, led to modern pop music. What is noteworthy in the process of change is that Rokyoku reflects the social situation at the time of the Sino-Japanese War and the Russo-Japanese War. It also told stories about the spirit of Bushido and loyalty, and was active as the most prosperous entertainment during the Meiji period. Moreover, in order to implement cultural reign, the Japanese Empire made various plans in the field of art, and especially actively used Rokyoku. Unlike Noh or Kabuki, Rokyoku has the characteristic of allowing rokyokushi(浪曲師) and shamisen(三味線) accompanists to move freely and provide comfort performances to battlefields, while also serving large audiences. There is also a perception that it is the most appropriate form of entertainment for the role of public edification, and it has the best conditions to incite the common people. Moreover, the story told by Rokyokushi has a strong dramatic tendency to stimulate the emotions of the common people. This paper traces how the iemoto(家元) system of traditional Japanese performing arts and the imperial cultural reign were linked through Rokyoku works. And I investigated the process by which Rokyoku flourished during the Japanese Empire. In addition, we identified how the spirit of bushido was interpreted during the production of Wartime rokyoku. Next, we examined the process of establishing Rokyoku’s ‘Ako gisiden(赤穂義士伝)’ and the expression style of ‘Nanbuzaka Yukino Wakare(南部坂雪の別れ)’, which is considered the main story. Lastly, I analyzed ‘Nogi Shogunden(乃木将軍伝)’ and ‘Sugino Naval Sergeant’s Wife (杉野兵曹長の妻)’, which are derived from these works. These two works are Wartime rokyoku produced by the Japanese Empire for the purpose of cultural reign, and have influenced many subsequent Rokyoku war works.