오카모토 기도(岡本綺堂) 「미노와노 신주(箕輪の心中)」론- 신가부키의 장르적 특성과 2대 이치카와 사단지(二代目市川左団次)와의 관계에 주목하여 - (A Study of Okamoto Kidō’s Minowa no Shinjū- Examining the Genre of Shin Kabuki and Its Relationship with Ichikawa Sadanji II -)

서지정보

· 발행기관 : 한국일어일문학회
· 수록지 정보 : 일어일문학연구 / 132권 / 355 ~ 380페이지
· 저자명 : 김지혜

초록

岡本綺堂は明治後期から昭和前期まで活動した歌舞伎劇作家で、従来の歌舞伎劇に近代思想や前例のない劇作法を取り入れた新歌舞伎という新しいジャンルの形成に多大な役割を果たした。とくに本稿で扱う「箕輪の心中」(1911年10月明治座初演)は、それまで歴史劇を執筆してきた綺堂が初めて試みた世話物として意義深く、新歌舞伎のジャンルの特質をも顕著にあらわす象徴性の高い作品でもある。 本作品は、天明5年(1785)に起きた旗本出身の藤枝外記と遊女の綾衣の心中事件を脚色しているが、従来近松門左衛門が構築した心中物の形式を或る程度継承しながらも、三つの側面(近代的自我実現の主体としての人物造形、既存の歌舞伎劇に見られない小道具の活用、十吉お米との対比)において新感覚を施している。 一方で、綺堂は外記というキャラクターに、伝統的な価値観にとらわれず、自己を優先した芸風や態勢を貫いた二代目左団次を投影している。新作歌舞伎の上演のみならず、歌舞伎興行や舞台演出の伝統を改革しようとした左団次の足跡は、恋という価値観を重んじ、階級意識や社会観念に対抗した外記の生き方と重複しているが、これは役者に合わせて作品を構想した従来の狂言作者の書き方とも一致する。 以上のごとく、「箕輪の心中」からは〈新風の注入〉と〈伝統の継承〉との均衡を保とうとした綺堂の創作態度を見出すことができ、まさにこういう点が新歌舞伎のジャンル性を物語っている。

영어초록

Okamoto Kidō, a kabuki playwright active from the late Meiji to the early Shōwa period, played a significant role in the development of Shin Kabuki, a genre that incorporated modern ideas and innovative dramaturgy into traditional kabuki theater. Among his works, Minowa no Shinjū, first performed at the Meiji-za theater in October 1911, holds particular importance as Kidō’s first sewamono play. It marks a departure from his prior focus on historical plays and serves as a highly symbolic representation of the defining features of the Shin Kabuki genre.
The play dramatizes the love suicide of Fujieda Geki, a samurai from the Hatamoto class, and Ayaginu, a courtesan, based on an incident that occurred in 1785. While it partially adheres to the theatrical conventions of shinjūmono established by Chikamatsu Monzaemon, the work introduces fresh elements in three key aspects: the modern self-realization of Geki and Ayaginu, the innovative employment of the katana sword, and the contrasting technique between Geki, Ayaginu and Jūkichi, Oyone.
At the same time, Kidō projected the traits of Ichikawa Sadanji II onto the character of Geki, emphasizing the actor’s modern approach to acting and performance, which prioritized individuality over adherence to traditional values. Sadanji, who not only performed in Shin Kabuki but also sought to reform the traditions of kabuki production and staging, mirrored Geki’s way of life, which valued love above social norms and class distinctions. This alignment reflects the conventional practice of traditional kabuki playwrights, who wrote scripts tailored to the actors, while also embodying the modern ethos of Shin Kabuki.
As seen in Minowa no Shinjū, Kidō successfully balanced “the introduction of new elements” with “the succession of tradition.” This creative attitude encapsulates the genre-defining characteristics of Shin Kabuki, where innovation and continuity coexist to shape a modern theatrical form.

참고자료

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