Download (4MB)
Abstract
The Takarazuka Revue is a Japanese theatre company with its own theaters in Tokyo and the city of Takarazuka. With approximately 1500 shows a year it reaches an audience of 2,6 million people. The most prominent characteristic of the Takarazuka Revue is its all-female cast. The male roles are played by the so-called otokoyaku 男役, whereas the female roles are played by the so-called musumeyaku 娘役. Overall, it is the otokoyaku who receive the attention and admiration of the mostly female audience. The reasons for this fascination in combination with the implications of gendered role-types have been greatly discussed. Yet, academic research about the performances themselves is still rare. Although the performances are considered as flamboyant and over-the-top cheesy by the general public, the Revue managed to develop a certain style, which has made it extremely popular for over a century. There are plays written and composed by the company’s own staff, for which they often drew inspiration from Japanese and non-Japanese literature and movies, but there are also plays that are adaptions of Western operas and musicals. According to Marumoto Takashi the changes made to adapt these plays for the Takarazuka stage reveal the unique style of the Revue. This thesis applies Marumoto’s theory of the takarazukalisation-process to one of the Revue’s most popular plays: the adaption of the Austrian musical ‘Elisabeth’. As the greatest change made in the Japanese adaption is the shift from a female to a male protagonist, the first part of this thesis examines the fascination for the otokoyaku that makes them the center of every show. The second part concentrates on theories, why exactly the change of the protagonist was necessary for the Revue’s adaption of ‘Elisabeth’. The final part examines in greater detail the takarazukalisation-process in a direct comparison of the 2016 version of Takarazuka’s ‘Elisabeth’ with the Austrian version of the 2015/16 tour. The scenes selected for this comparison are those that, according to the creators of the play, Michael Kunze and Sylvester Levay, are crucial to carry the true message of their work. As it turns out those scenes were greatly changed for the Takarazuka adaption, as that version carries a completely different message.
| Dokumententyp: | Andere |
|---|---|
| Keywords: | Takarazukalisation; Japan; Theater; Japanese Theater; Takarazuka; Takarazuka Revue; Otokoyaku; Musumeyaku; Topstar Otokoyaku; Topstar Musumeyaku; Gender; Musical; Elisabeth; Musical Elisabeth; Michael Kunze; Sylvester Levay; Marumoto Takashi, Takarazukalisation; Japan; Theater; Japanisches Theater; Takarazuka; Takarazuka Revue; Otokoyaku; Musumeyaku; Topstar Otokoyaku; Topstar Musumeyaku; Gender; Musical; Elisabeth; Musical Elisabeth; Michael Kunze; Sylvester Levay; Marumoto Takashi |
| Fakultät: | Kulturwissenschaften > Department für Asienstudien > Japanologie > Abschlussarbeiten am Japan-Zentrum der LMU München |
| Themengebiete: | 300 Sozialwissenschaften > 300 Sozialwissenschaft, Soziologie
700 Künste und Unterhaltung > 780 Musik 700 Künste und Unterhaltung > 790 Sport, Spiele, Unterhaltung > 791 Öffentliche Darbietungen, Film, Rundfunk 700 Künste und Unterhaltung > 790 Sport, Spiele, Unterhaltung > 792 Bühnenkunst |
| URN: | urn:nbn:de:bvb:19-epub-57254-1 |
| Ort: | München |
| Sprache: | Deutsch |
| Dokumenten ID: | 57254 |
| Datum der Veröffentlichung auf Open Access LMU: | 23. Nov. 2018, 15:14 |
| Letzte Änderungen: | 04. Nov. 2020, 13:36 |
| Literaturliste: | Berlin, Zeke (1988). Takarazuka: A History and Critical Analysis of the Japanese All-Female Performance Group. PhD Diss., University of New York. ProQuest (AAT8910554). Mageanu, Daniela Florentina (2015). The aesthetics of Takarazuka: a case study on Erizabêto – ai to shi no rondo. (M.A.) Etn. UC University of Canterbury – UC Research Repository, <https://ir.canterbury.ac.nz/bitstream/handle/10092/10863/TheaestheticsofTakarazuka-Submission-MasterofArtslibrary.pdf?sequence=1&isAllowed=y>, letzter Zugriff: 16.03.2018. Marumoto, Takashi (2012). „A Song For Kingdoms: Takarazuka’s Attempt To Adapt The Opera Aida“. Barbara Geilhorn, Eike Grossmann et. al. (Hrsg.) Enacting Culture – Japanese Theater in Historical and Modern Contexts, München: IUDICIUM Verlag, S. 159-171. Mikami, Masako 三上雅子 (2011). „Koisuru otoko to kôdôsuru onna – takarazuka kageki ni okeru danseizô – 恋する男と行動する女−宝塚歌劇における男性像−“ (Männer, die lieben, und Frauen, die handeln – das Männerbild in der Takarazuka Revue). Ôsaka Shiritsu Daigaku Daigakuin Bungaku Kenkyûka (Hrsg.). Hyôgenbunka (Bd. 6). S. 41-55. <http://dlisv03.media.osaka-cu.ac.jp/contents/osakacu/kiyo/111E0000020-6-3.pdf>, letzter Zugriff: 16.03.2018. Nakamura, Karen & Hisako Matsuo (2003). „Female masculinity and fantasy spaces: transcending genders in the Takarazuka Theatre and Japanese popular culture“. James E. Roberson (Hrsg.) Men and masculinities in contemporary Japan: dislocating the salaryman doxa, London: RoutledgeCurzon, S. 59-76. Parker, Helen S.E. (2001). „The Men of our Dreams: The Role of the otokoyaku in the Takarazuka Revue Company’s ‚Fantasy Adventure’“. Stanca Scholz-Cionca (Hrsg.) Japanese Theatre and the International Stage, Leiden et. al.: Brill, S.141-254. Robertson, Jennifer (20013). Takarazuka: Sexual Politics and Popular Culture in Modern Japan, Berkeley: University of California Press. Roost, Alisa C. (2008). „Elisabeth by Sylvester Levay, Michael Kunze and Koike Shuichiro – Review“. Theatre Journal 60/2, S. 302-303. Rommel, Birgit (2007). Aus der „Schwarzen Möwe“ wird „Elisabeth“ – Entstehung und Inszenierungsgeschichte des Musicals über die Kaiserin von Österreich. (Dipl.Arb.) Hamburg: Diplomica Verlag. Sakaue Yuki 阪上由紀 (2010). „Kaigai Myûjikaru no Takarazukaka – „Erizabêto“ no baai海外ミュージカルの宝塚化−「エリザベート」の場合“ (Die Transformation ausländischer Musicals in die Takarazuka – am Fallbeispiel „Elisabeth“). Jinbunronkyû 60/1. S. 183-203. Stickland, Leonie R. (2008). Gender Gymnastics – Performing and Consuming Japan’s Takarazuka Revue. Melbourne: Trans Pacific Press. Yamanashi, Makiko. (2012). A History of the Takarazuka Revue since 1914. Leiden, Boston: Global Oriental. |
- Dokument bearbeiten
