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村山知義と〈春香伝〉 : 村山の演劇論との関連から

Examining Tomoyoshi Murayama and the Chunhyang jeon in Relation to Murayama’s Theatrical Theory

Japanese (日本語)

国際文化学研究 : 神戸大学大学院国際文化学研究科紀要

56

1-23

神戸大学大学院国際文化学研究科

2021-07

2021-08-30

Tomoyoshi Murayama, who was active in many fields such as art and theater from the Taisho to the Showa era, took a great interest in Korean culture, and through his proletarian theater activities, he came to form a deep connection with those involved in Korean theater. Such close interaction between them came to fruition in Murayama’s 1938 stage direction of a Korean historical play, Syunkōten (the Chunhyang jeon). This work by Murayama has been discussed by both Korean and Japanese scholars from various perspectives, including in relation to Japan's colonial policy toward Korea at that time. In this paper, I attempt to reexamine this work from the perspective of Murayama's theatrical theory. By examining the dramaturgy of Murayama at the time, in particular his concept of "progressive realism," I will consider the reasons for his fascination in the Chunhyang jeon. This examination will more accurately illuminate Murayama Tomoyoshi as a proletarian theater artist, who was compelled to achieve a balance between politics and art as a result of not only the external pressures of wartime, but also his internal political and artistic motives. The above analysis will also reveal the close relationship between the Korean and Japanese proletarian theater movements in the 1930s, and their respective development through mutual influence.

政治と芸術

紀要論文