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◇発表者:大西 由紀





大東文化大学文学部日本文学科 講師。東京大学大学院総合文化研究科博士後期課程修了。博士(学術)。2022年より大東文化大学文学部日本文学科講師。専門は比較文学・翻訳論。日本において20世紀初頭から始まったオペラ/音楽劇の受容について、とりわけ台本の翻訳と翻案に注目して研究している。著書『日本語オペラの誕生──鷗外・逍遙から浅草オペラまで』(森話社、2018年)で日本演劇学会河竹賞奨励賞および日本比較文学会賞を受賞。共編著に『オペラ/音楽劇研究の現在:創造と伝播のダイナミズム』(佐藤英・岡本佳子との共編、水声社、2021年)。





Grand Finale at the Opera: A Plot Repeatedly Used by Japanese Early Adopters of Western Music Theatre

◇Presenter: ONISHI, Yuki
◇Time and Date: November 5th (Sat.) 2022, 16:30-18:00 (JST)
◇Format: Online meeting (Zoom)
◇Language: Japanese


Among the history of Western musical theatre reception in Japan, three domestically written musical plays that are frequently mentioned by researchers strangely share the same plot: a group of Japanese people travel around the world; on their travels, one or more of the characters find themselves in trouble, mainly because they do not know the Western culture nor languages; eventually they get separated, but luckily meet again in front of an opera house or a music hall in a European metropolis, and attend a show together.

This paper closely reads the three plays: Hyōryū Kitan Seiyō Kabuki (The Miraculous Story of the Castaways: A Play in the Western Style, 1879), a kabuki play which inserted Western touring company’s comic opera scenes as a play-within-a-play; Oshi Ryokō (A Mute’s Travels, 1908), a musical farce written for Japan’s first modern actress and her company; and Mon Pari (Mon Paris, 1927), the first revue in Japan staged by today’s Takarazuka Revue Company. By investigating remaining scripts, illustrations, photos, sheet music, shellac recordings, artists’ interviews, critical reviews, and other media coverage, the study attempts to explain why this plot template was used repeatedly, and how the playwrights in later years added their own twists to the prototype.

Profile of Presenter

ONISHI Yuki is a lecturer of comparative literature and culture at Daito Bunka University in Saitama, Japan. Her research explores various forms of Western-influenced music theatre in Japan which emerged around and after 1910, focusing on how libretti in Western languages were translated and/or adapted for a Japanese audience. She is a proud co-editor of Opera and Music Theatre Studies Today: Dynamism of Creation and Spread (Tokyo: Suiseisha, 2021, in Japanese) together with SATO Suguru and OKAMOTO Yoshiko. Her first monograph, The Birth of Japanese-Language Opera, 1902–1923 (Tokyo: Shinwasha, 2018, in Japanese) won awards from the Japanese Society for Theatre Research and the Japan Comparative Literature Association. She received her Ph.D. in 2017 at the University of Tokyo, Komaba.

*As at the date of meeting

Meeting Report

Format: Online meeting (Zoom)
Moderator: KASAI, Amane
There were 28 participants.