Modern Acting - Kindai Haiyuujutsu

Japanese: 《近代俳優術》 - きんだいはいゆうじゅつ

...He believes that the theory of physical action is his greatest contribution to theater, and while clearly acknowledging the difference between Stanislavski, who started out as an actor, and Brecht himself, who started out as a playwright, he finds common ground in the consistent behavior toward the theme of the work. Senda Koreya, who wrote Modern Acting (1949), the first comprehensive and practical theory of acting in modern Japanese theater, provides precise analysis and scientific consideration of gestures, speech, and role creation, based on his experience and research as an actor and director. He was also influenced by the Stanislavski system, and emphasizes that an actor's lines and gestures are linked together in a living human being, creating an organic and dynamic system. ...

From [Kenya Senda]

…In 1944, toward the end of the war, he founded the Haiyuza Theatre Company with Sugisaku Aoyama, Eitaro Ozawa, Eijiro Higashino, and Chieko Higashiyama, and played a central role in the company until the present day, contributing greatly to the revival and development of postwar new theater. Senda's activities represent one aspect of the history of the acceptance of modern realist theater in Japan and its establishment in Japan, that is, the history of new theater. In particular, his contribution to the theorization of modern acting techniques and acting skills, as represented by his work Modern Acting Technique (1949), is significant. Also worthy of special mention is his energetic translation, introduction, and performance of a series of Brechtian plays (and their theatrical theories), especially since the late 1950s. …

*Some of the terminology that refers to "Modern Acting" is listed below.

Source | Heibonsha World Encyclopedia 2nd Edition | Information

Japanese:

…そして身体的行動の理論が，演劇に対する一番大きな貢献だとして，俳優から出発したスタニスラフスキーと戯曲から出発したブレヒト自身との違いをはっきりと認めながら，作品の主題に対する一貫した行動において一致点を見いだしている。　日本の現代演劇において，最初のまとまった実践的な演技論である《近代俳優術》(1949)を著した千田是也は，俳優･演出家としての体験と研究にもとづいて，身振り表情術，物言う術，役の創造について，精密な分析と科学的な考察を行っている。彼もスタニスラフスキー･システムの影響を受け，俳優のせりふとしぐさは，生きた人間のなかで一つに結ばれたものとして，有機的なダイナミックな体制をつくりだしている，と強調している。…

【千田是也】より

…戦争末期の44年，青山杉作，小沢栄太郎，東野英治郎，東山千栄子らと〈俳優座〉を結成，戦後，今日まで同座で中心的役割を果たし，戦後新劇の復興･発展に寄与するところ大であった。千田の活動の軌跡は，いわば日本における近代リアリズム劇の受容とその日本的な確立の歴史，つまりは〈新劇〉の歴史の一側面をよく代表するものであり，とくにその著《近代俳優術》(1949)に代表される近代的な演技術･俳優術の理論化の功績は大きい。また，とくに50年代後半以降の一連のブレヒト劇(およびその演劇理論)の精力的な翻訳紹介，上演も特筆に値するものであろう。…

※「《近代俳優術》」について言及している用語解説の一部を掲載しています。

出典｜株式会社平凡社世界大百科事典第２版について | 情報

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