（少年たちは駐車場の一角を隠れ場”陣地”にせんとする！）
早稲田大学で開催された復帰４０年記念シンポジウム（３月２９～３１日）のパネルセッション、英語で論じられた新作組踊の報告を紹介します。ジョンの論稿は８枚で、中身は刺激的である。Intercultural/ cross culturalがinterperformativeとどう重なるのか？劇空間のなかでの異文化的、異質なものの重なりのモメントは確かに演劇ならではの特性でありえる。
Shinsaku-kumiodori and the “Interperformative” in Okinawa
Dr. John D. Swain
Theatre in Okinawa in the 20th and 21st centuries raises a variety of interlocking questions about the nature of the theatrical arts and definitions of “intercultural” theatre. Aspects of Okinawan theatre that intersect with the current scholarly and critical debates about “intercultural” theatre connect to postcolonial and diasporic identity construction. What does the lived experience in Okinawa Prefecture tell us about how theatre functions, and how does theatre help define Okinawan subjectivity?
This essay intends to begin answering those questions through examples of modern Okinawan theatre that are exemplified by what I call the “interperformative.” The interperformative is the live moment on stage when two or more theatrical genres and their attendant conventions come into contact. The concept can elucidate how changes happen on the Okinawan stage, or any stage. To do so, I will look at the shinsaku-kumiodori (“new-kumiodori”) of Ōshiro Tatsuhiro, and how they are adapted and directed by Kōki Ryōshū. This essay is about Okinawan theatre 40 years after reversion, but is also a theorization of theatre in general. Because of the historically eclectic nature of Okinawan culture, Ōshiro and Kōki try to take advantage of the interperformative to re-assert an Okinawan identity. (I think I should say “Uchinānchu” identity, but there is no time in this essay to justify that term). Shinsaku-kumiodori is a genre that permits fluidity of a subject postition buffeted by Japanese, American and Okinawan cultures. That fluidity can be explained through the interperformative. The interperformative opens a cultural space for Okinawan identity to flow around, rather than be absorbed by, the Japanizing and Westernizing forces of Japanese and American culture.
Ōshiro and others have described the contemporary Okinawan condition as being squeezed in what I describe as a three-way-vise. Lived existence in Okinawa is a response to political and cultural pressures from mainland Japan, the U.S., and Okinawa itself. That begins to describe what I mean by “interperformative.” The concept of interperformative is similar to the critical interventions in literature known as the “interliterary” and the “intertextual.” In all forms of writing, especially prose and poetry, and including drama, authors borrow from, reference, and adapt various literary genres and traditions in an attempt to elicit fresh responses from the reader.. It is when the reader or viewer encounters the new associations that new literary and theatrical meanings are generated. It is not too much of a stretch to imagine how that comes can happen in literature or theater created in the three-way-vise of Okinawa.
とても興味深い論稿で、以下省略！新作組踊が伝統をまた新たに再生し多様な演劇形態を異文化交流や融合を含めて可能で、沖縄独特のアイデンティティそのものへ寄与することを論じている。
早稲田大学で開催された復帰４０年記念シンポジウム（３月２９～３１日）のパネルセッション、英語で論じられた新作組踊の報告を紹介します。ジョンの論稿は８枚で、中身は刺激的である。Intercultural/ cross culturalがinterperformativeとどう重なるのか？劇空間のなかでの異文化的、異質なものの重なりのモメントは確かに演劇ならではの特性でありえる。
Shinsaku-kumiodori and the “Interperformative” in Okinawa
Dr. John D. Swain
Theatre in Okinawa in the 20th and 21st centuries raises a variety of interlocking questions about the nature of the theatrical arts and definitions of “intercultural” theatre. Aspects of Okinawan theatre that intersect with the current scholarly and critical debates about “intercultural” theatre connect to postcolonial and diasporic identity construction. What does the lived experience in Okinawa Prefecture tell us about how theatre functions, and how does theatre help define Okinawan subjectivity?
This essay intends to begin answering those questions through examples of modern Okinawan theatre that are exemplified by what I call the “interperformative.” The interperformative is the live moment on stage when two or more theatrical genres and their attendant conventions come into contact. The concept can elucidate how changes happen on the Okinawan stage, or any stage. To do so, I will look at the shinsaku-kumiodori (“new-kumiodori”) of Ōshiro Tatsuhiro, and how they are adapted and directed by Kōki Ryōshū. This essay is about Okinawan theatre 40 years after reversion, but is also a theorization of theatre in general. Because of the historically eclectic nature of Okinawan culture, Ōshiro and Kōki try to take advantage of the interperformative to re-assert an Okinawan identity. (I think I should say “Uchinānchu” identity, but there is no time in this essay to justify that term). Shinsaku-kumiodori is a genre that permits fluidity of a subject postition buffeted by Japanese, American and Okinawan cultures. That fluidity can be explained through the interperformative. The interperformative opens a cultural space for Okinawan identity to flow around, rather than be absorbed by, the Japanizing and Westernizing forces of Japanese and American culture.
Ōshiro and others have described the contemporary Okinawan condition as being squeezed in what I describe as a three-way-vise. Lived existence in Okinawa is a response to political and cultural pressures from mainland Japan, the U.S., and Okinawa itself. That begins to describe what I mean by “interperformative.” The concept of interperformative is similar to the critical interventions in literature known as the “interliterary” and the “intertextual.” In all forms of writing, especially prose and poetry, and including drama, authors borrow from, reference, and adapt various literary genres and traditions in an attempt to elicit fresh responses from the reader.. It is when the reader or viewer encounters the new associations that new literary and theatrical meanings are generated. It is not too much of a stretch to imagine how that comes can happen in literature or theater created in the three-way-vise of Okinawa.
とても興味深い論稿で、以下省略！新作組踊が伝統をまた新たに再生し多様な演劇形態を異文化交流や融合を含めて可能で、沖縄独特のアイデンティティそのものへ寄与することを論じている。
