城市演出形态的演进－中日“邯郸梦”系列

Abstract

This paper analyses the Chinese origins of urban Japanese Drama from ancient to modern times. An observation is given on the changes of space, style of performance and themes in both China and Japan. In particular, the main object of my study is to describe how “Handan Dream”, which has become a synonym for the success and down‐full of human life, gradually developed into its own phenotype after reaching Japan. Japanese version of the Handan Dream was first cited in the novel <The Record of Peace and Tranquility> published in 14th century. The story spread Buddhist ideology and Shinto belief. <Handan> which was adapted for Noh theatre, tells the story of a protagonist searching for an eminent monk in order to bring solace to his tormented life. He lives in a fantasy world whereby he undergoes change in his perception of life. From the beginning of the 17th century, Kabuki placed less emphasis on spiritual themes and more on magnificent dancing. In the modern work, Yuokio Mishima’s <Handan> uses Handan pillow as a symbol for overstepping space‐time and clarifying life. Although Handan Dream has undergone changes in space‐time and its performance has been transformed, the key in expressing universal life and death continues to be used to this day.