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This thesis explores the various elements of Takarazukaʼs performance style, and analyses how they influence the adaptation of pieces which fall outside this style. As a case study this thesis will examine the world-wide acclaimed Viennese German-language musical Elisabeth (1992), which was materially altered in order to suit Takarazukaʼs established style, and became Erizabēto – ai to shi no rondo (Erizabēto – the rondo of love and death, 1996). Employing the existing framework for the analysis of the theatre, by theatre scholars Yamanashi Makiko and Marumoto Takashi, this thesis will provide a detailed account of Takarazukaʼs style elements, and show how pieces which fall outside this style are treated. The conversation on Takarazukaʼs performance style is recently started in English, and this thesis is intended to add to this. The Takarazuka version, Erizabēto – ai to shi no rondo is contrasted with the original Viennese in terms of 1) plot, dialogue and characterisation; and 2) lighting and scenery, and wardrobe to illustrate Takarazukaʼs adaptation process. Upon doing this analysis, it became apparent that Takarazuka has an established style which centres on romanticism, fantasy and visual richness, and that pieces that do not originally fit within this style are thoroughly altered in order to become appropriate for the Takarazuka stage.

This study aims to draw and discuss parallels between the humour of kyōgen that is depicted in the play The Delicious Poison, and theories about humour as a behavioural mechanism.  Using existing theories about humour and Japanese dramatic aesthetics as a foundation, the research commences from the following questions: Based on the text and the stage directions, what possibilities do kyōgen actors in the play The Delicious Poison have to use dramaturgic comic devices to cause a humorous reaction among the audience? What are these devices and why do they work the way they do, theoretically? Based on a collection of qualitative data from both primary and secondary sources, the script of The Delicious Poison was translated and analysed using the theories presented. It was found that the most prominent humour devices used in the play were those of doxa (recognition or prior knowledge), exaggeration, and comprehension-elaboration (element of surprise), along with the escalating structural principle of jo-ha-kyū (introduction, development, climax).  Future research including analysis of kyōgen plays of other genres, is however needed to confirm the correct use of the theories and the findings. / Denna studie syftar till att dra och diskutera paralleller mellan den humor som uppstår i kyōgenpjäsen The Delicious Poison, och teori om humor som en beteendemekanism. Genom att använda existerande teorier om humor och japansk dramaestetik som grund, har studien utgått från följande frågor: Med manus och scenhänvisningar som utgångspunkt, vilka möjligheter har kyōgenskådespelare i pjäsen The Delicious Poison att använda sig av dramatiska komikgrepp för att framkalla en humorreaktion från åskådarna? Vilka är dessa komikgrepp och hur fungerar de teoretiskt sett? Av analysen framkom det att de mest framträdande komikgreppen som används i pjäsen är doxa (igenkänning och föreliggande kunskap), överdrift och uppskattning-elaboreringsmodellen, samt den eskalerande strukturella principen jo-ha-kyū (introduktion, utveckling, klimax). Det skulle emellertid vara nödvändigt med framtida studier inkluderande analys av kyōgenpjäser av andra genrer, för att bekräfta kredibiliteten hos de teorier som använts och de resultat som framkommit. / 拙稿では狂言の『附子』で発現するユーモアと態度的な機構としてのユーモアについて理論との類似点を比較し、論議を行う。存在している理論及び日本の伝統的な演劇美学を使用し、研究は以下の問題から開始する： 台本とト書きをもとにして、狂言の『附子』に登場する役者は演劇的なお笑い工夫でユーモア反応を引き起こす可能性はどこで表れるのか。 この工夫はどこでなされて、なぜ理論的に機構が働くのか。 一次資料と二次資料から集めた定性データをもとにして現れた理論を使用して、「附子」の台本は翻訳され、分析された。分析から明らかになった結果によるとユーモア工夫はドクサ（認める事）、誇張、理解力詳述モデル（意外性）である。その他、序破急という日本の伝統文化の構造的な概念も重要である。今後の研究に関しては、理論や分かった結果を確認するため、他種の狂言を分析する必要がある。

Multimedia technology in theatre is nothing new, but various companies in modern and post-modern Japan, such as Dumb Type, Hatsune Miku, and the robot theatre of Oriza Hirata and Hiroshi Ishiguro, have been experimenting with mediatized technology. This thesis hones in on these Japanese multimedia theatres. It studies the origins of mediatization in theatre, looking at the impact of the innovations made by Adolphe Appia. Furthermore, the growing impact of media technology can create a perception of ‘Liveness’ of these artificial actors. Liveness is a critically important concept, both on and off stage, affecting how one perceives the non-human and the type of relationships that are conveyed between the human and non-human actor, as well as the non-human actor and its human audience. This thesis covers the productions of “A One Woman Show” and a spoiler-heavy discussion on "Super Danganronpa 2 The Stage ~Sayonara Zetsubō Gakuen~" within the context of the impact of projections on stage. Robots and the uncanny valley are also reviewed, with the play "Sayonara" as the primary case study within this topic. Then the thesis analyzes the experimental human theatre of Dumb Type, focusing on their plays "S/N" and "pH," as well Vocaloid concerts and the impact of these characters, especially Hatsune Miku, upon the fans. In the course of this analysis, reasons are suggested as to why these technological innovations have found particular success in Japan. / Graduate

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