نوع مقاله : مقاله پژوهشی
نویسندگان
1 رشته پژوهش هنر دانشگاه علم و فرهنگ، تهران، ایران.
2 دکتری فلسفه هنر، دانشگاه آزاد اسلامی، واحد شاهرود، شاهرود، ایران
چکیده
عنوان مقاله [English]
نویسندگان [English]
Traditional Japanese theater forms maintain a profound connection with the religious beliefs of this land, including Shintoism and Zen, to the extent that the formation and continuity of many of them can be attributed to these rituals. Various elements of these performances, including the role-playing of characters present in them, adhere to specific principles that are often influenced by the aforementioned beliefs. In this context, given the prominent position of child performers and the precise regulations governing their participation, particularly in the three forms of Noh, Kyōgen, and Kabuki, examining their presence holds significant importance, both in relation to Japan's prevailing beliefs and in understanding the rules governing the training and performance of children in these plays. This article aims to analyze the role of children in these performances, referred to as kokata in Noh and Kyōgen, and koyaku in Kabuki, and extract educational implications for children's theater. The study employs a descriptive-analytical method with a qualitative approach, based on library resources, framed within the theoretical constructs of the innate sanctity of children, Zeami's concept of yūgen, and the hereditary system of acting. The findings reveal that in Noh, kokata not only preserves the sanctity of roles such as emperors through their inherent purity but also contributes to realizing yūgen with their natural delicacy, while ensuring a deliberate distance between performer and role; in Kyōgen, the presence of kokata primarily serves the continuity of family traditions and gradual familiarization with the stage; whereas in Kabuki, koyaku is embedded within a stratified hereditary acting system, linking early stage exposure with professional training and heightened audience impact. Thus, child performance in these three forms reflects the interplay of cultural worldview, aesthetic principles, and educational patterns unique to each tradition; features such as training from childhood, family involvement in rehearsals and performances, and aligning school education with performance schedules offer inspiring models for contemporary methods of theater training for children.
)