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Der Mythos Von Der Vollkommen Erschaffenen Kunst. Erfundene

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Der Mythos Von Der Vollkommen Erschaffenen Kunst. Erfundene Der Mythos von der vollkommen geschaffenen Kunst Erfundene Traditionen und ihre Integration in Nō und Kyōgen mit Schwerpunkt auf der japanischen Moderne Inaugural-Dissertation zur Erlangung des Doktorgrades der Philosophie an der Ludwig-Maximilians-Universität München vorgelegt von Jan Schumacher aus Freising 2014 Erstgutachter: Prof. Dr. Michael Gissenwehrer (Theaterwissenschaft) Zweitgutachter: Prof. Dr. Peter Pörtner (Japanologie) Termin der Disputation: 22. Januar 2015, 10 Uhr Jan Schumacher Der Mythos von der vollkommen geschaffenen Kunst Erfundene Traditionen und ihre Integration in Nō und Kyōgen mit Schwerpunkt auf der japanischen Moderne iudicium Zugl.: Dissertation, Ludwig-Maximilians-Universität München, 2015 Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. ISBN 978-3-86205-436-7 © IUDICIUM Verlag GmbH München 2017 Alle Rechte vorbehalten Umschlaggestaltung: Harald Bauer, Surberg Druck: ROSCH-BUCH Druckerei GmbH, Scheßlitz Printed in Germany www.iudicium.de Inhaltsverzeichnis INHALTSVERZEICHNIS 1. EINLEITUNG 11 2. BEGRIFFSERKLÄRUNG 18 2.1 Allgemeine Grundbegriffe 18 2.1.1 Entwicklung 18 2.1.2 Fortschritt, Stagnation und Rückschritt 19 2.2 Anmerkungen zu der Verwendung der japanischen Sprache 19 2.2.1 Umschrift japanischer Schriftzeichen und Personennamen – Regel und Ausnahmen (nach dem revidierten Hepburn- System) 19 2.2.2 Übersetzung der Titel japanischer Stücke 21 2.3 „Kansei sareta“ – Kan’ami, Zeami und eine vollendete Kunst 21 2.4 Kurze Einführung in mein Verständnis einiger Begriffe des Nō/ Kyōgen und ihre Verwendung 22 2.4.1 Zu der Verwendung der Begriffe Nō, Kyōgen, Nō/Kyōgen, Sarugaku und Nōgaku in dieser Studie 22 2.4.2 Zu der Bezeichnung von Nō- und Kyōgen-Spielern 23 2.4.3 Handwerk und Kunst in Sarugaku, Nō und Kyōgen 24 2.4.4 Entwicklung in einem Handwerk 25 2.5 Goryū San’yaku – fünf Schulen, drei Pflichten 26 2.6 Zeamis Schriften – Überblick über die Editionen, auf die verwiesen wird 27 2.7 Hinweise und Listen zu der japanischen Geschichte 28 2.7.1 Die Kansai- und die Kantō-Region 28 2.7.2 Japanische Zeitrechnung 29 2.7.3 Die Shōgune von den Ashikaga bis zu dem letzten Tokugawa-Shōgun 30 2.8 Zur Orientierung: eine Karte des Kaiserreichs 31 3. ERFUNDENE TRADITIONEN 32 3.1 Entwicklung des Begriffs von 1983 bis heute 33 3.1.1 Eric Hobsbawm stellt die „invented traditions“ vor (1983) 35 3.1.2 Erfundene Traditionen in der Japanologie 41 3.1.3 Eric Rath und Erfundene Traditionen in der Theaterwissen- schaft 46 3.1.4 Schlussbemerkung 47 3.2 Tradition und Moderne in Japan zwischen 1853 und 1945 48 3.2.1 „Raus mit dem Alten, rein mit dem Neuen“ 49 3.2.2 Die Suche nach dem neuen Japan 53 3.2.3 Koexistenz von altem und neuem Japan bis in die 1930er Jahre 60 5 Inhaltsverzeichnis 3.2.4 Sarugaku und Kyōgen werden zu Nōgaku 63 3.2.5 Zu dem Paradox der japanischen traditionellen Theaterkünste 64 3.3 Schlussbemerkung 66 4. GLAUBENSSYSTEME IM NŌ/KYŌGEN 68 4.1 Shikigaku („rituelles Theater“ oder „zeremonielles Theater“) 69 4.2 Konfuzianismus in Nō und Kyōgen 80 4.3 Buddhistischer Einfluss in Nō und Kyōgen 81 4.3.1 Buddhismus und Nō 81 4.3.2 Buddhismus und Kyōgen 83 4.3.3 Zen-Buddhismus 84 4.4 Okina 86 4.4.1 „Okina ist und ist nicht Nō“ 86 4.4.2 „Okina“ als kultisches Theater 88 4.4.3 „Okina“ heute 91 4.4.4 „Manhattan Okina“ 92 4.4.5 Sanbasō 93 4.4.6 Schlussbemerkung 93 4.5 Exorzismen in Nō und Kyōgen 93 4.6 Christliche Elemente in Nō und Kyōgen nach der Meiji-Restauration 95 5. ENTWICKLUNGEN DES BÜHNENRAUMS SEIT DEM 12. JAHRHUNDERT 98 5.1 Einführung 99 5.1.1 Geschichte der Sarugaku-Bühne vor der Meiji-Restauration 99 5.1.2 Einführung in die Terminologie der Nō-Bühne 104 5.2 Tsukurimono und andere Requisiten, die der Schauspieler nicht in der Hand hält oder bewegt 111 5.3 Nüchternheit und Leere auf der Nō-Bühne 114 5.4 Zerstörung von Sarugaku-Bühnen in der Zeit des Umbruchs (1850er bis 1860er Jahre) 115 5.5 Experimente mit westlicher Theater- und Bühnenarchitektur 116 5.6 Errichtung und Betrieb der Shiba-Bühne durch die Fördervereine, 1881–1903 119 5.7 Zerstörungen im und Neubauten nach dem Asiatisch-Pazifischen Krieg 121 5.8 Errichtung des Nationaltheaters und der Staatlichen Nō-Bühne 122 5.9 Center-Stage-Events 126 5.10 Schlussbemerkung 127 6. SCHAUSPIELER AUF DER BÜHNE 128 6.1 Schauspieler und ihre Fächer 130 6.1.1 Grundlagen des Zusammenspiels 130 6 Inhaltsverzeichnis 6.1.2 Elemente der Bühnenästhetik I: Monomane, Yūgen, Hana 134 6.1.3 Die Großmeister des Nō 148 6.1.4 Elemente der Bühnenästhetik II: Gegensätze bilden die Struktur 149 6.1.5 Elemente der Bühnenästhetik III: Nō/Kyōgen als präsenta- tionales Theater 150 6.1.6 Shite, Tsure und Kōken 153 6.1.7 Uneinigkeit über den Ursprung des Waki 158 6.1.8 Ergebnis 163 6.2 Frauen und die Nō-Bühne 164 6.2.1 Frauen in der Gesellschaft Meiji-Japans allgemein 164 6.2.2 Frauen im professionellen Schauspiel des kaiserlichen Japan 165 6.2.3 Gründe für die ablehnende Haltung gegenüber profes- sionellen Schauspielerinnen 167 6.2.4 Frauen im Nō und Kyōgen heute 172 6.2.5 Schlussbemerkung 174 6.3 Herausbildung verschiedener Darstellungsstile in den Nō-Shite- Schulen 175 6.3.1 Darstellung bis zu Kan’ami, Zeami und On’ami 179 6.3.2 Konkurrenz unter den Sarugaku-Truppen bis zu den Tokugawa 182 6.3.3 Unterschiede und Gemeinsamkeiten in den Tanz- und Dar- stellungstraditionen der Nō- und Kyōgen-Schulen nach der Restauration 183 6.4 Kulturkontakte zwischen Japan und dem Rest der Welt und ihre Beeinflussung der Bühnenbewegung im Nō und Kyōgen 188 6.5 Schnelles Sarugaku, langsames Sarugaku – Wissenswertes zur Spielgeschwindigkeit 190 6.6 Zeami und das Nō 193 6.7 Spielraum für Individualismus bei Tanz und Darstellung 198 7. SPRACHE, GESANG UND MUSIK 202 7.1 Einführung in Sprache, Gesang und Musik im Nō 203 7.2 Sprache, Gesang und Musik nach Zeami 213 7.2.1 Bedingungen für die Entwicklung von Sprache, Gesang und Musik 217 7.3 Shinsaku Nō und Shinsaku Kyōgen klingen einfach anders: Ex- perimente mit Rhythmus, Sprache, Instrumenten und Musik in modernen Stücken 218 7.3.1 Fukkyoku Nō und Fukkyoku Kyōgen – Bindeglied zwischen Tradition und Moderne in Sprache, Gesang und Musik 223 7.4 Gesang und Musik im Unterricht – Mittel zur Durchsetzung der Autorität des Iemoto 223 7.5 Schlussbemerkung 229 7 Inhaltsverzeichnis 8. MASKEN UND KOSTÜME 231 8.1 Masken und ihre gewandelte Bedeutung 231 8.1.1 Einleitung 231 8.1.2 Herkunftsdebatte 235 8.1.3 Form und Größe 237 8.1.4 Klassifizierung und Regeln für den Gebrauch 240 8.1.5 Der Shite im Kagami no Ma 243 8.1.6 Maskenschnitzer und Spieler, Spieler und Maskenschnitzer 244 8.1.7 Maskenbestand und Bedeutung alter Masken 247 8.1.8 Erweiterungen der Maske: Kaburimono (Schmuckwerk), Kodōgu (Handrequisiten) und Kagura (Perücke) 250 8.1.9 Schlussbemerkung (Masken) 251 8.2 Kostüme und ihre Geschichte 252 8.2.1 Nō 252 8.2.2 Kyōgen 255 8.2.3 Neue Kostüme – moderne Kostüme? 256 8.2.4 Von der Bedeutung des Fächers als „zweites Gesicht“ des Shite 256 8.2.5 Schlussbemerkung (Kostüme) 258 9. STÜCKE UND INSZENIERUNGEN 259 9.1 Kanon und Repertoire 260 9.1.1 Die Setzung(en) des Kanons 262 9.1.2 Die Erweiterung des Kanons durch ein individuelles Reper- toire 268 9.1.3 Zu der Frage der Kategorisierung kanonischer Stücke 270 9.1.4 Gestaltung und Form 272 9.1.5 Zu der Bedeutung der Textbücher in der westlichen For- schung 276 9.1.6 Schlussbemerkung 277 9.2 Von der Bedeutung originaler Autorenschaft in der japanischen Theatergeschichte, hier bezogen auf Nō und Kyōgen 278 9.3 Moderne Inszenierungen mit Nō und Kyōgen 280 9.3.1 Betrachteter Zeitraum 281 9.3.2 Merkmale moderner Inszenierungen von Nō und Kyōgen 281 9.3.3 Von Nō und Kyōgen inspirierte Künstler inszenieren neues japanisches Theater 287 9.3.4 Shinsaku Nō und Shinsaku Kyōgen 301 9.3.5 Ergebnis 343 10. PUBLIKUM 346 10.1 Schauspieler und Zuschauer 347 10.1.1 Herkunftslegenden des Sarugaku 352 10.1.2 Gründe für den Besuch einer Nō-Vorstellung 354 10.1.3 Vorstellung 357 10.1.4 „Riken no ken“ – der Künstler als sein eigener Zuschauer 359 8 Inhaltsverzeichnis 10.2 Wandel in der Publikumsstruktur seit der Muromachi-Zeit 361 10.2.1 Das Publikum bis an das Ende der Edo-Zeit (13. Jahr- hundert bis 1868) 361 10.2.2 Theater sucht Publikum I: Nō/Kyōgen in der Meiji-Zeit (1868–1912) 386 10.2.3 Die Nationaltheaterdebatte 401 10.2.4 Nō und Kyōgen in Zeiten militärischer Aggression (1894 bis 1945) 406 10.2.5 Zensur durch die Besatzungsmacht 413 10.2.6 Theater sucht Publikum II: Die Nachkriegszeit 414 10.2.7 Das neue Publikum 418 10.3 Anforderungen an den Zuschauer 422 10.4 Traditionelles Theater in den neuen Medien 427 10.4.1 Zeitungen und Zeitschriften 428 10.4.2 Radio 429 10.4.3 Film und Fernsehen 429 10.4.4 Ein kurzer Abriss zu Nō und Kyōgen im Internet 432 10.5 Fremde Gesichter 434 10.5.1 Nicht-Japaner und das Nō-Theater 434 10.5.2 Nō und Kyōgen in der Welt 438 11. ORGANISATION UND FINANZIERUNG 442 11.1 Das Iemoto Seido 443 11.1.1 Frühformen der Organisation 443 11.1.2 Organisation der Sarugaku-Truppen vom „Shūdōsho“ im 15.
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