ＩＦＴＲ/ＦＩＲＴ国際演劇学会が日本で初めて大阪大学で8月7日から12日まで開催されます。実に多様な個人研究発表やパネル、フィルムセッションなどがなされます。その間、文楽やお能、現代演劇の公演やワークショップも開催されます。すでにプレイベントとしてはこの間公開されることのなかった土方舞踏の映像が6日に紹介される企画などもあります。残念ながら見られません。私は7日に国立劇場おきなわで開催される組踊のシンポジウムを拝聴して大阪に飛ぶ予定です。パワーポイントでの発表の準備をしっかり仕上げる段階でいつものようなスタンス？！呆れてもどうしょうもないが、学期末の忙しさと重なりたいへんな状態！2003年にインドのジャイプールで開催された国際学会に参加して以来、多元的認識（知）を得る貴重な体験の場です。
世界の知が多様にそれぞれの国で、あるいは越境しあい、コラボレートしながら世界の過去・現在・未来をPerformativity/Drama/Theatre/Performance/あらゆる表象を現代の目線で切開し、新たなビジョン（視点）を開示していきます。Tradition, Innovation, Communityがメインーテーマです。
去年の夏はドイツを代表するエリカ・フィシャーの基調講演に感銘を受けました。「パフォーマンスの美学」を英文・和文取り寄せました。まだそれを十分咀嚼できているか、こころもとない中ですでに1年が過ぎて大阪大会です。去年ミュンヘンに行った体験はこのブログでも一部紹介しました。研究分野は多種多様でフェミズム・ワーキングクグループはギリシャからチカノ、アイルランド、スゥエーデン、フィンランド、イギリス、フランス、ブラジルなど、そしてアメリカの研究者はかなり力があるのですが、自国で数冊の研究書をすでに物している方々が多く刺激的です。彼・彼女たちのきらめく感性・知性の滴を呑みほしたい所で、自分のセクシュアリティー＆ジェンダーの沖縄での研究につなげることをまた念じています。去年は1時間ほどアジア演劇研究ワーキンググループで発表したのでフェミの研究発表を聞けなかったが、今回はアジア演劇部会が開設されないのでフェミの新しい動向を少し伺うことができそうです。
いつも論文発表が先行しそれらを論としてまとめる作業が遅れています。もっと緊密に対象に向かい言葉をひねり出す作業が要求されています。また国際学会でいつも多様に斬新な研究発表がなされますが、それらを自らの研究の中身に包含（包摂）しさらに対象研究を深化させることが要求されています。やれやれ何をしているの？です。いかにまとめるか、が問われ続けています。
Key Note Speakers
JEYIFO, Biodun≪アメリカ≫
Biodun Jeyifo is Emeritus Professor of English at Cornell University and Professor of Comparative Literature and African and African American Studies at Harvard University. He was educated at the University of Ibadan (B.A. First Class Honors in English) and New York University (M.A., Ph. D.). He has taught at the University of Ibadan and the Obafemi Awolowo University, Ile-Ife, both in Nigeria, and at Oberlin College and Cornell University in the United States.
Between 1980 and 1982, Professor Jeyifo served as the National President of the Academic Staff Union of Universities (ASUU), Nigeria’s professional association of teaching and research faculty. In this position, he helped to shape state policy in the direction of consolidation of academic autonomy and adequate funding of tertiary education in Nigeria. He has lectured widely in Africa, Europe, North America and Asia. He has also served as an External Examiner in several African, European, Canadian, Caribbean and South Asian universities.
Professor Jeyifo has published many books, monographs and essays on Anglophone African and Caribbean writings, drama, Marxist and postcolonial literary and cultural studies. His most recent book-length publication, Wole Soyinka: Politics, Poetics, and Postcolonialism (Cambridge University Press, 2004), won one of the American Library Association’s Outstanding Academic Texts (OATS) awards for 2005. The two-volume Oxford Encyclopedia of African Thought which Professor Jeyifo co-edited with Professor Abiola Irele, formerly of Harvard, was published in March 2010. He is presently completing a monograph on “Nollywood”, the national video film industry of Nigeria and editing some documentary shorts that he has written and produced in the last few years.
MORI, Mitsuya≪日本≫
Mitsuya Mori was born in Fukui, Japan.He obtained his BA in Aesthetics from Tokyo University, MA in Theatre Arts from the University of California, Los Angeles, and Ph.D. from Meiji University, Tokyo.
Mitsuya Mori was Professor of Theatre Studies at Seijo University, Tokyo from 1983 to 2008. He is now Professor Emeritus at Seijo University.
He was the President of the Japanese Society for Theatre Research from 1996 to 2006, and a member of the executive committee of the International Federation for Theatre Research from 1995 to 1999 and from 2001 to 2005. He has been a member of Norwegian Academy of Science since 1997.
Mitsuya Mori’s research works are categorized mainly into three fields: aesthetics of theatre, Ibsen and Scandinavian drama, and comparative theatre history focused on the modernizing process of theatre in Japan.
His published books include Scandinavian Theatre (1981), Ibsen’s Realism (1984), Comparative Theatre of the East and the West (ed. 1994), Ibsen’s fin de siècle (1995), The Poetics of Theatre (2007), and Changing Aspects of Theatre Studies (ed. 2007).Mitsuya Mori also has translated a number of Ibsen’s and Strindberg’s plays, and directed some of them with professional theatre companies. His production of Double Nora, a modern noh play based on A Doll’s House, was invited to the International Ibsen Festival in Oslo in 2006.
RAE, Paul≪シンガポール≫
Paul Rae teaches on the Theatre Studies Programme at the National University of Singapore, and is co-director, with Kaylene Tan, of spell#7 performance (www.spell7.net).He is the author of Theatre & Human Rights (Palgrave Macmillan, 2009), and has published on contemporary theatre and performance in TDR , Performance Research, Contemporary Theatre Review and Theatre Research International. Recent and forthcoming book chapters appear in Translation in Asia (St Jerome, 2011), The Rise of Performance Studies (Palgrave, 2011), Contemporary Southeast Asian Performance (Cambridge Scholars, 2011), Performance and the Contemporary City (Palgrave, 2010), and Contesting Performance (Palgrave, 2010). His current projects include a monograph entitled Real Theatre, a co-authored book, Travelling Performance: Suggested Itineraries (with Martin Welton) and a co-edited volume, It Starts Now: Performance Avant-Gardes in East and Southeast Asia (with Peter Eckersall).
(ポールさんとは2010年春クアラルンプールでお会いしたのですが、意外と沖縄の事をご存知でした。シンガポールの伝統芸能とその現代のリバイタリゼーションは、アジアの同じような兆候を感じさせました。確か演出家幸喜良秀を知っていましたね！ビックリでした）
KUPPERS, Petra≪アメリカ≫
Petra Kuppers is a community artist, a disability culture activist, and Artistic Director of The Olimpias (www.olimpias.org). She teaches in Performance Studies at the University of Michigan, USA. Her books include Disability Culture and Community Performance: Find a Strange and Twisted Shape (Palgrave, 2011), Disability and Contemporary Performance: Bodies on Edge (Routledge, 2003), The Scar of Visibility: Medical Performances and Contemporary Art (University of Minnesota Press, 2007), Community Performance: An Introduction (Routledge, 2007). The Olimpias’ current performance repertoire include the participatory performance “Journey to the Holocaust Memorial in Berlin,” the Butoh-inspired new media/participatory performance “Burning,” and a workshop curriculum called Somatics/Expression, developed with contemporary feminist and disability culture artists.
LO, Jacqueline≪オーストラリア≫
Professor Jacqueline Lo is Director of the Australian National University’s Centre for European Studies and Adjunct Research Fellow of the Centre for Interweaving Performance Cultures at the Free University of Berlin. Her research focuses on issues of race, colonialism, diaspora and the interaction of cultures and communities across ethnic, national and regional borders. Publications include Staging Nation (HKUP 2002), Performance and Cosmopolitics (Palgrave Macmillan 2007, with Helen Gilbert) and “Making Transnational Connections”, a special issue of Amerasia (2010). She’s presently completing a book on Asian Australian cultural politics, and is involved in 2 other projects related to memory, migration and the performance of cultural diversity.
BHARUCHA, Rustom≪インド≫
Rustom Bharucha is an independent writer, director, and cultural critic based in Kolkata, India. He is the author of several books including Theatre and the World, The Politics of Cultural Practice, Rajasthan: An Oral History, and Another Asia: Rabindranath Tagore and Okakura Tenshin. He is presently a Visiting Research Fellow at the International Research Centre/Interweaving Performance Cultures at Freie Universitat in Berlin, Germany. A leading interlocutor in the area of intercultural performance, both at theoretical and practical levels, he has also conducted a number of workshops with marginalized communities in India, the Philippines, South Africa, and Brazil on issues relating to land and memory, the politics of touch, and cultural diversity. A former advisor of the Prince Claus Fund for Culture and Development in the Netherlands, he has served as a consultant for the Arts Council in Ireland on cultural diversity in the arts, as well as for Ford Foundation on its interdisciplinary and multicultural Artography project. Most recently he was the Project Director of Arna-Jharna: The Desert Museum of Rajasthan and Festival Director of the Inter-Asian Ramayana Festival at Adishakti, Pondicherry, which attempted to explore the plurality of the epic across South and Southeast Asian performance, musical and visual traditions.
●おそらく誰が基調講演をするか、という事は学会を開催する側のスタンスが伺われます。永田先生や毛利先生など実行委員会の視野の中にアジアがあり、アフリカを視座に据えた眼差しが伺えます。また日本ならではの身体性が見てきます。そしてissues of race, colonialism, diaspora and the interaction of cultures and communities across ethnic, national and regional borders、Travelling Performance、フェミニズム、透明性/可視性・不可視性、a disability culture(障害文化） ホロコースト、舞踏、aesthetics of theatre, Ibsen and Scandinavian drama, comparative theatre history focused on the modernizing process of theatre in Japan、The Politics of Cultural Practice （文化的実践の政治？）などなど、多様ですが、そこから見えてくるものがありそうです。ラスタム・バルーチャに興味がわくのはインドのカースト制度のその底辺で演劇活動をやっている事もあります。また鋭い舌鋒で西欧の潮流（政治・経済・文化の収奪）にかみついている勇敢な論調もあります。そういえば2003年にバルーチャと一緒に撮った写真がありました。しかし、あれから私は一冊の研究書も出していないのです！やれやれ！
「伝統、革新、コミュニティー」のメインテーマはどのように展開され、どのように統合と新たな発見、問題提起へと突き進むのでしょうか？３・１１の地震・津波・原発を経て大阪での開催にも陰りが見えました。しかし今この国際会議の意味すること、今後に拓かれていく課題が何か、そこから未来への豊かな眺望がありえることを期待しています。さて？！ワタシの発表は？沖縄というコミュニティーの文化エキスについてです。●
ネットで以下のJaquelineについての紹介がありました。アジア系オーストラリア人で、確かヘルシンキの学会でお会いした。クールな雰囲気の彼女はオーストラリアで「ポストコロニアル研究」で優秀な著書を世に出し受賞をしたとかと、お聞きした。本は入手していない。
ハイブリディティーが鍵概念？
Jaqueline Lo
Jacqueline Lo is Associate Professor, Reader in English, and Head, School of Humanities, College of Arts and Social Science, The Australian National University. She teaches post-colonial literature, focusing on West Indian, Singaporean, and Malaysian Literature. Her research and teaching is strongly interdisciplinary, drawing from post-colonial studies, performance studies, cultural studies, and literary analysis.
Research Project:
Beyond happy hybridity: Contemporary Asian Australian cultural production
The aim of this project is to complete a book manuscript on the growing body of Asian Australian literary and performance texts in the past three decades. The project examines the emergence of Asian Australian cultural politics and identification within the larger context of Australian nationalism, Austral-Asian regionalism and global cultural flows. This study also aims to develop new conceptual frameworks to describe diasporic identities and knowledge formations. By analyzing writing and performances that are often peripheral to the mainstream arts industry but important to the national imaginary, the will extend current thinking about issues such as race and race relations, national identity, border security, multiculturalism, reconciliation, diaspora, and hybridity. The theoretical crux of this study is the reassessment of the concept of hybridity. Hybridity has been widely used as the terminology and sensibility of the postmodern, post-colonial world. Much contemporary criticism has focused on hybridity as the sign of the productive emergence of new cultural forms based on mutual borrowings, exchanges, and intersections across ethnic boundaries. This project traces the history of hybridity back to nineteenthcentury European scien-tific racism before moving on to critique the various applications of the term in contemporary cultural studies. A key innovation is the invocation of a more nuanced consideration of hybridity and its various deployments with reference to the Asian Australian archive.
＜写真は今回の国際学会のシンボルポスター・チラシ！＞
