무겐노(夢幻能)의 극 형식과 지우타이(地謡)의 연기공간

Abstract

The original classical theatrical formation ‘Noh’ representing the performing arts of Japan’s middle age is centered by mugen-Noh that spirit represents. But the study about how Jiutai which has a similar function with Greek chorus was inserted in mugen-Noh is not satisfying. It is ironical. It was Edo Era that the name of Jiutai was settled down. On the Noh text of Zeami, the word Ji of do-on indicates chorus was used during Muromachi period (1333-1573). These days in the Noh, Jiutai sings the song alone but do-on has the formation that all of actors sing chorus, and in the Ji all of actors except main characters sing chorus. I studied many factors in the theatrical formation of mugen-Noh, the parts written on the text, how Waki(Supporting-Character), Shite (Main Character), Tsure(Accompanied Character) belonged to the range of chorus by the rule of director in the real performance, the courses that do-on was called Ji and Jiutai, and the function of Jiutai chorus exists identically despite of different name. mugen-Noh which has the main character of ghost or spirit, supernatural being has before and after 2 chapters that are called in the name of Maeba and Nochiba. The main character of mugen-Noh is described as Maejite who covers his status for a while in Maeba and appears different and as Nochijite who revives the past of himself that was gone on the earth in Nochiba and disappeared into the world beyond that he had to go. The point of composition of Zeami’s mugen-Noh is composed of the story of Maejite in Maeba and the song and dance of Nochijite. Jiutai reveals inner world of Shite covered mask and begins to intervene after following dialogue between Waki and Shite, and makes its importance bigger going to Nochjiba that Shite revives past. And the last scene of Mai, the song of Jiutai makes an end completely except the indication pointing showsa(gesture). The gesture of Shite has theatrical space in which actors should control inside the body. And Jiutai shows the space of acting Noh deeper and more 3-dimensional by sitting right and chorus with Waki. This paper studied the role of jiutai in《Nishikigi》that belongs to the 4th performance ‘Guruimono’ which the main characters repeat dreaming back and are attached the revival of past. Guruimono has subject of the unachieved love, attachment. This paper also studied the role of jiutai in《Dojoji》 that followed Zeami. In《Dojoji》that belongs semi-dreaming Noh, the number of characters so increased that it is able to go beyond the rule of one actor while the role of jiutai decreased and was trans-formated in this work. Noh represents futility of middle age with artistic spirit by lending mugen-Noh that is original theatrical style. In Mugen of Zeami, the role of jiutai that is the chorus of orient is close relationship of the essence of mugen-Noh and expands the space of acting to look more 3-dimensional. So we should not overlook the range of acting in the Noh.