植民地朝鮮と能・謡：釜山謡曲界の形成 ー附:各地方の謡曲界ー

Abstract

Through the Edo period, Noh was not only the entertainment but also the culture of the Samurai. But Noh was forced to the verge of fatal collapse by the Meiji Restoration. They had no more patrons, financial support, and the stages they play. But Noh had played a revival again as "the state entertainment" with the strong assistance of the state power. And Noh was reborn as the performing arts to honor the national prestige of Imperial Japan. The purpose of this paper is to clarify the historical formation and development of ‘Utai/Yokyoku Circles(謡曲界)’ which is called as ‘Utaikai(謡会)’ in Pusan.　 I have been conducting research on the representative Japanese performing art of Noh and its important element Utai(chant) in colonial space of Keijyo/Seoul. Since Noh and Utai were the most popular forms of Japanese entertainment enjoyed by the influential people in Japanese colonies, the formation and evolution of Noh and Utai demonstrates how Japanese performing arts penetrated into Japanese colonial spaces as a form of cultural hegemony. Despite diversity of cultural influence on different regions, the majority of the previous research regarding Japanese performing arts in colonial cities has been done on Keijyo/Seoul. For this reason, this research has been carried out to examine Japanese cultural hegemony in a larger context of Japanese colonies ranging from the principle of the empire, Tokyo, to the entire colonial cities, including Keijyo/Seoul, Pusan, Dalian, Qingdao, Taipei, and Tainan. At the same time, this research enable to briefly outline a history of Nohgaku(能楽) in Japanese colonial territories. This work is to highlight cultural hegemony of Noh and Utai in urban space of Pusan.