Theater company - gekidan

Japanese: 劇団 - げきだん

A group organized for the purpose of creating theater. In Japan, it is roughly synonymous with za or ichiza, and they are often used interchangeably.

[Tsutomu Ohshima]

Theatre companies and theatres in Japan

The word "theater company" was born from the new theater movement that began at the end of the Meiji period, and it was not until the Taisho period that it came into general use. It was originally a more modern term than "za," which corresponds to the English word "company." However, as we can see today, many new theater companies (modern theater companies) use the term "za," and conversely, Kabuki and Shinpa groups use the term "theater company." The two terms are used interchangeably, and it is safe to say that they are essentially the same. This also applies to the formation and content of theater companies, because while Western-style theater companies are based on a contract system, there are many modern theater companies that maintain the Japanese family-oriented nature. In any case, a theater company can be defined as an artistic organization that has a certain theatrical philosophy and is equipped with specialists in charge of each department necessary for sustained performance activities. Therefore, a well-organized theater company usually consists of the acting department (actors) as the main department, as well as the departments of literary direction, art (sets, costumes, etc.), lighting, effects (sound), and management and production. Many of them also have film and broadcasting departments and affiliated acting schools.

[Tsutomu Ohshima]

Map of Japanese Theatre Companies

Traditionally, the Japanese theater companies were dominated by a division or conflict between commercial theater companies (large theaters) and non-commercial theater companies (new theater companies). This was publicized for a long time because the new theater movement had anti-commercial theater as one of its slogans from the beginning. However, this division has become almost meaningless, especially with the rapid increase in new theater artists moving to large theaters after World War II and the increase in their appearances on television and other media. Also, the distinction between professional theater companies (professional theater companies) and amateur theater companies (student theater companies, independent theater companies) has come to emphasize mutual exchange rather than the diversification of the theatrical situation caused by the small theater movement after the late 1960s. In particular, there has been a remarkable advancement of university theater companies and semi-amateur theater companies to professional theater companies, and they occupy a unique position among young and mid-career theater companies. There are many different theater companies, and it is truly a profusion of flowers.

[Tsutomu Ohshima]

history

origin

The history of theater companies is as old as the history of drama, and its roots can be seen as far back as B.C. The oldest recorded example is a group of priests who were involved in the Mysteries of Osiris at the ancient Egyptian court. They performed dramas of death and resurrection based on myths. Records also show that in ancient China, there existed professional groups of actors that originated from shamans who acted as intermediaries between gods and humans. In ancient Greece in particular, the Dionysian Guild of Artists was organized around the 3rd century B.C., consisting of playwrights, actors, a chorus (koros), and musicians, and toured the far reaches of the Orient, playing the role of cultural envoys for the state. In Roman times, there were professional groups of actors made up of slaves from the court who were the favorites of the nobles.

[Tsutomu Ohshima]

Europe

The first permanent professional theater companies in Europe are said to have been the commedia dell'arte (masked improvisational comedy) that was popular in Italy from the mid-16th century to the 17th century. They toured Europe under the name of Italian comedies, laying the groundwork for the creation of professional and semi-professional theater companies in each country. Professional theater companies based in permanent theaters were born in Elizabethan England and Golden Age Spain, and playwrights such as Shakespeare and Lope de Vega were born here. In the early modern period, with the development of capitalism, commercial theaters centered around stars controlled by impresarios appeared in each country, but in the late 19th century, the Meiningen Theater, organized by Germany's Duke Georg Meiningen, created realistic stages that emphasized ensembles, and had a great influence on theater in each country. Eventually, stimulated by this, the modern theater movement (free theater movement) arose with the slogan of anti-commercial theater, and theater companies as artistic creative entities formed by comrades were born one after another in various countries, and the initiative of the theater companies shifted to the hands of writers and directors. The Moscow Art Theatre, which represented Chekhov and Stanislavski, is a good example of this.

[Tsutomu Ohshima]

Japan

In Japan, as far back as the Manyo period, there was a group of traveling women who sold their bodies by singing and dancing, and as the origin of the birth of early modern Kabuki, they are indispensable in the history of Japanese theater. However, the first example of a full-fledged group of entertainers to appear in documents is said to be a troupe of Dengaku priests that belonged to Miyaza theaters around the country from around the end of the Heian period. In the Kamakura period, Sarugaku troupes, which were influenced by Chinese Sangaku, were born, and eventually evolved into Noh and Kyogen, solidifying the basis for a hierarchical theater organization with the Zagashira at the top. This unique structure of Japanese performing arts was later passed on to Bunraku puppet theater and Kabuki, and still casts a shadow over modern theater companies such as the New Theater Company to some extent.

The first modern theater company in Japan with a certain theatrical philosophy was the Tsukiji Little Theater, founded by Osanai Kaoru and others at the end of the Taisho era. This theater company had a theater with over 500 seats and modern theater equipment as its base of operations. However, to this day, with the exception of a very small number of theater companies, modern Japanese theater companies do not have their own theaters, and the majority of them are content to perform in rented theaters and halls. It can be said that this phenomenon is reversal even more than half a century after World War II. In addition, financial support from the state and public institutions is much less than in Western countries, so most theater companies, except for a few theater companies that have become show business or prioritize appearing in the media, have been unable to escape from the semi-chronic financial instability, and it is no exaggeration to say that their continuity is supported by the theatrical passion of the theater company members.

[Tsutomu Ohshima]

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

Japanese:

演劇の創造を目的として組織された団体。日本では座または一座とほぼ同義で、併用されることが多い。

［大島　勉］

日本における劇団と座

劇団ということばは明治末に始まった新劇運動のなかから生まれたものであり、一般に用いられるようになったのは大正以降である。これは英語のカンパニーcompanyなどに対応するものとして、当初は座に比べてかなり近代的なニュアンスが強かった。しかし今日にみるように、新劇団（現代劇団）の多くが座の呼称を用い、また逆に歌舞伎(かぶき)や新派などの団体が劇団を呼称するなど、両者は混用、併用されていて、実質的には同一といって差し支えない。これは劇団の成立、内容についてもいえることで、契約制に基づく欧米型の劇団組織に対して、日本型の家族主義的体質を温存する現代劇団も少なくないからである。いずれにせよ劇団（カンパニー）とは、一定の演劇理念をもって持続的な上演活動に必要な各部門を担当する専門人を備えた芸術団体と定義することができよう。したがって整備された劇団は、演技部門（俳優）を主体に文芸演出、美術（装置・衣装など）、照明、効果（音響）、経営制作の各部門から成り立っているのが普通である。映画放送部や付属の俳優養成所を併置しているところも多い。

［大島　勉］

日本の劇団地図

従来、日本の劇団には商業劇団（大劇場）と非（反）商業劇団（新劇団）の対立ないし区分の図式が支配的であった。これは、新劇運動が出発時から反商業演劇をスローガンの一つにしていたために久しく喧伝(けんでん)された。しかし、とくに第二次世界大戦後に急増した新劇人の大劇場進出、またテレビなどのマスコミ出演の増大につれて、この対立区分はほとんど有名無実と化している。また専門劇団（職業劇団）とアマチュア劇団（学生劇団・自立劇団）の区別も、1960年代後半以後の小劇場運動などによる演劇状況の多様化によって、むしろ相互の交流に力点が置かれるようになった。とくに大学劇団や半アマチュア劇団からプロ劇団への進出が著しく、若手・中堅劇団のなかで特異な位置を占めている。劇団名もさまざまで、まさに百花繚乱(りょうらん)の趣(おもむき)がある。

［大島　勉］

歴史

起源

劇団の歴史は演劇の歴史とともに古く、その萌芽(ほうが)はすでに紀元前にみられる。歴史に記録された最古のものは、古代エジプトの宮廷においてオシリスの秘儀に携わった神官の一団である。彼らは神話に基づいて死と復活のドラマを演じた。また古代中国でも、神と人を媒介する巫覡(ふげき)に由来する職能的な俳優集団が存在したことが記録されている。とくに古代ギリシアでは、紀元前3世紀ごろには劇作家、俳優、合唱団（コロス）、楽手などからなる「ディオニソス芸術家組合」が組織されて、遠くオリエント世界にまで巡演し、国家の文化使節的役割を果たした。ローマ時代には、宮廷奴隷による専門的な俳優集団があり、貴族たちの寵愛(ちょうあい)を集めた。

［大島　勉］

ヨーロッパ

ヨーロッパで恒久的な職業劇団が生まれたのは、16世紀中ごろから17世紀にかけてイタリアで流行したコメディア・デラルテ（仮面即興喜劇）が最初とされる。彼らはイタリア喜劇団の名でヨーロッパ各地を巡演し、各国の職業的ないし半職業的な劇団を生む素地をつくった。エリザベス朝のイギリス、黄金世紀のスペインなどで常設劇場に拠(よ)る専門劇団が誕生し、シェークスピア、ローぺ・デ・ベガらの劇作家がここから生まれた。近世に入ると、資本主義の発達とともに各国に興行師の支配するスター中心の商業劇場が輩出したが、19世紀後半にドイツのゲオルク・マイニンゲン公が組織したマイニンゲン公劇団がアンサンブルを重視した写実的な舞台を創造し、各国の演劇に多大の影響を与えた。やがてこれに刺激されて反商業劇場をスローガンとする近代劇運動（自由劇場運動）がおこり、同志的結合による芸術創造体としての劇団が各国に次々と誕生して、劇団の主導権は作家と演出家の手に移った。チェーホフとスタニスラフスキーを擁したモスクワ芸術座はその好例である。

［大島　勉］

日本

日本では古くは万葉の時代から、歌舞して色を売る遊行女婦（うかれめ／あそびめ）の一群があり、これは近代初頭の歌舞伎誕生の淵源(えんげん)として日本演劇史上、欠かすことはできない。しかし本格的な芸人集団としては、平安末期ごろから各地の宮座に所属する田楽(でんがく)法師の座が文献にみえる最初の例とされる。鎌倉期に入ると中国の散楽の流れを引く猿楽(さるがく)の座が生まれ、やがて能狂言に大成されて、座頭(ざがしら)を頂点とする階層的な劇団組織の基礎が固まった。この日本芸能独自の構造は、その後、人形浄瑠璃(じょうるり)、歌舞伎に引き継がれ、新劇団をはじめとする現代劇団にも多少とも影を落としている。

　日本で一定の演劇理念のもとに近代的な劇団組織が生まれたのは、大正末に小山内薫(おさないかおる)らによって設立された築地小劇場が最初である。この劇団は活動拠点として近代的劇場機構を備えた座席500余の劇場をもっていた。だが今日に至るまで、ごく少数の劇団を除いて、日本の現代劇団は自らの劇場をもたず、その大部分は貸し劇場・ホールでの公演に甘んじているのが現状である。第二次世界大戦後半世紀以上を超えてなお逆戻りの現象を呈しているといえる。これに加えて、国家や公的機関からの財政的援助が欧米諸国に比べて格段に乏しいため、ショー・ビジネス化した、またマスコミ出演を優先する一部の劇団を例外として、ほとんどの劇団はなかば慢性化した経営不安を脱却できず、その持続は劇団員の演劇的情熱によって支えられているといっても過言ではない。

［大島　勉］