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早稲田大学総合研究機構 オペラ/音楽劇研究所  2022年11月研究例会のご案内

Information of Monthly Regular Meeting November 2022 (The 206th Meeting of Opera Research Group)

Waseda Institute for Research in Opera and Music Theatre (WIROM), Comprehensive Research Organization, Waseda University

English follows Japanese


◇日時: 2022年11月5日(土)16:30-18:00
  • ※ 事前申し込みが必要です。参加希望者は11/2(水)までにGoogleフォーム(https://forms.gle/ChqQEgTeiz8WcgSR7)から、ご氏名、所属、連絡先(メールアドレス)を記入してお申し込みください。前日(11/4)にフォームに入力したメールアドレスに招待メールをお送りします。
  • ※ ご出席の際お名前の表示をお願いします。カメラをonにする必要はありません。発言時以外はミュートにしてください。

◇所属・資格:大東文化大学文学部日本文学科 講師

◇題名: 「大団円はオペラ座で──日本の洋楽系音楽劇受容の初期において繰り返し

◇発表言語: 日本語






◇ 司会者: 葛西 周

報告者: 大矢未来
司会者: 大田美佐子

e-mail address: operaken-uketsuke[at]list.waseda.jp ( [at] = @)
(この例会案内は後ほど FacebookTwitterでも発信されますので、そちらでも見ることができます。)


Monthly Regular Meeting November 2022 (The 206th Meeting of Opera Research Group)
Waseda Institute for Research in Opera and Music Theatre (WIROM), Comprehensive Research Organization, Waseda University

◇Time and Date: November 5th (Sat.) 2022, 16:30-18:00 (JST)
◇Format: Online meeting (Zoom)
  • The invitation e-mail via zoom will be sent to the registrants on Novemver 4th.
◇Presenter: ONISHI, Yuki

◇Position, Affiliation: Daito Bunka University, Lecturer

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

◇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.

◇Moderator: KASAI, Amane

Next meeting will be held on December 3rd (Sat.) 2022
Presenter: OYA, Miku
Moderator: OHTA, Misako

Waseda Institute for Research in Opera and Music Theatre (WIROM), Comprehensive Research Organization, Waseda University: https://w3.waseda.jp/prj-opera-mt/

e-mail address: operaken-uketsuke[at]list.waseda.jp ( [at] = @)
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English follows Japanese

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