総力戦体制下における芸能統制: 能楽における技芸者証とその意味を中心に

서지정보

· 발행기관 : 중앙대학교 외국학연구소
· 수록지 정보 : 외국학연구 / 25호 / 193 ~ 221페이지
· 저자명 : 서정완

초록

The purpose of this paper is to try to explicate and clarify the historical characteristics and consider their meaning of the control of performing arts under the Total War System in Japan. Noh was forced to the verge of collapse by the Meiji Restoration. Through the Edo period, Noh was able to maintain their organization and keep the space of existence by financial and political support from the Daimyo(大名) and samurai. However, the efforts of the Daimyo and samurai were dismantled by the Meiji Restoration, and Noh fell into a state of disrepair, so to speak. But overcoming the long time of hardship, Noh had a revival again as a “national entertainment” with the strong assistance of nobility and state power. Noh then secured a position as the appropriate peforming entertainment for the national prestige of the Empire of Japan as a modern state to counter the Western powers. As part of the expansion policy for the construction of their empire, Japan started the Sino-Japanese war and even commenced war with the United States by attacking Pearl Harbor. As the war continued and the war situation deteriorated, it was very necessary and profoundly essential for Japan to carry out the Total War System. As a result of system, a severe cultural control policy was implemented. The targets for this control policy were all kinds of cultural media such as movies, newspaper, radio broadcasting, plays and all other performing arts. The state power of Imperial Japan did not allow any activities of “Gigeisha”(entertainers) or traditional arts and implemented policies to issue a license of the performing called “Gigeisha-sho”. Of course, Noh was also included. There were no exceptions. But as above mentioned, Noh had a more special prestige and dominant position as the “national entertainment” than the others. At the implementation of this control policy, Noh had to abandon their dominant position and superiority and stand on the same footing as other performing arts. That was a humiliation and an ordeal for the Noh that was hard to accept and endure. The prestige of Noh which had been lifted up and led by the state power was withdrawn by the state power itself at this time.

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