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This study focuses on Tanizaki Junichiro’s Lesedrama “Birth” and “Shinzei” to further analyze the development of the modern new drama in Japan in the 1910s and the trend of Lesedrama.
The 1910s was a period of time called the “Taisho Democracy” as the uprising interest in pop culture grew up into an age of innovation. Different types of modern creative play were being created during this time in the play business in Japan, developing great popularity in pop culture. Also, it is a big characteristic in the new play movement in Japan is that during the Taisho period, creative plays concentrated more on Lesedrama alongside with the trend of novelists writing and creating plays.
Lesedrama became a trend in the Taisho period because of its liberal and open generation mindset embraced experiments and challenges. It was not a play for theatre, and it shows that it was taken in and accepted as a part of literature. In other words, it was made clear to the audience that plays were based on literary understanding and recognized Lesedrama as literature and a mean of expression. “Birth” and “Shinzei” are two literary works that has the characteristics of Japanese new drama and Lesedrama created in the 1910s. Created in the same period of time as Tanizaki’s first publication, “The Tattooer,” these plays are written in a drama format, which was unusual during the time. This shows that Tanizaki was ahead of his time and had ambition for literature. However, the plays were presented out to the public during the time when the difference between the mainstreams like Kabuki, soap opera, and Lesedrama were not properly distinguished. Despite the confusion, Tanizaki carried out writing both novels and plays, which later explains how modern new plays in Japan developed and struggled between literature and theatre.
The 1910s was a period of time called the “Taisho Democracy” as the uprising interest in pop culture grew up into an age of innovation. Different types of modern creative play were being created during this time in the play business in Japan, developing great popularity in pop culture. Also, it is a big characteristic in the new play movement in Japan is that during the Taisho period, creative plays concentrated more on Lesedrama alongside with the trend of novelists writing and creating plays.
Lesedrama became a trend in the Taisho period because of its liberal and open generation mindset embraced experiments and challenges. It was not a play for theatre, and it shows that it was taken in and accepted as a part of literature. In other words, it was made clear to the audience that plays were based on literary understanding and recognized Lesedrama as literature and a mean of expression. “Birth” and “Shinzei” are two literary works that has the characteristics of Japanese new drama and Lesedrama created in the 1910s. Created in the same period of time as Tanizaki’s first publication, “The Tattooer,” these plays are written in a drama format, which was unusual during the time. This shows that Tanizaki was ahead of his time and had ambition for literature. However, the plays were presented out to the public during the time when the difference between the mainstreams like Kabuki, soap opera, and Lesedrama were not properly distinguished. Despite the confusion, Tanizaki carried out writing both novels and plays, which later explains how modern new plays in Japan developed and struggled between literature and theatre.
목차
1. 서론
2. 1910년대의 일본 신극
3. 다니자키 준이치로의 레제드라마
4.『탄생(誕生)』과 『신제이(信西)』의 의미
5. 결론
參考文獻
Abstract
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UCI(KEPA) : I410-ECN-0101-2016-830-002000667