Cette thèse examine et réévalue l’oeuvre théâtrale d’Osanai Kaoru qui a joué un rôle fondamental pour instaurer le théâtre moderne dit shingeki au Japon et qui a incarné à lui seul le héraut de la modernité en cumulant une multitude de fonctions. Notre étude repose en premier lieu sur les écrits théoriques d’Osanai sur le théâtre et s’articule en trois parties. Tout d’abord nous procédons à l’examen de son parcours multiple et foisonnant en le divisant en trois périodes dans l’histoire du shingeki. La deuxième partie explore son rapport avec la modernité, en traitant d’abord de la réforme visée par lui dans un paysage théâtral dominé par la tradition, ensuite de sa quête du public populaire qui soustend sa seconde phase et qui se complexifie conjointement à sa quête du théâtre national. Par la suite nous examinons l’émergence de la mise en scène, point nodal du théâtre occidental, et son évolution en nous en tenant à trois pièces emblématiques. Enfin nous procédons à l’examen des apports du théâtre occidental au travers de quatre visionnaires : E.G.Craig dans la théorie duquel Osanai puise, puis trois metteurs en scène Stanislavski, Reinhardt et Meyerhold, lui donnant l’occasion d’aborder des scènes occidentales majeures et ayant une grande incidence sur son propre travail. Dans la troisième partie, nous nous consacrons à étudier le rapport complexe d’Osanai avec le théâtre traditionnel, aspect très mal évalué au Japon, principalement le kabuki sans pour autant négliger le théâtre de marionnette [bunraku] et le nô. Nous prolongeons notre réflexion sur le paradigme de la tradition à deux metteurs en scène japonais, Suzuki Tadashi et Miyagi Satoshi (Ku Na’uka). / This thesis consists in examination and re-evaluation of the theatrical works of Osanai Kaoru who played a fundamental rule to launch modern theatre called shingeki in Japan and embodied the herald of modernity accumulating different functions. Our study relies first of all on theoretic writings of Osanai on theatre and is structured in three parts. The first one examines his multiple and rich courses and is divided in three periods along the history of shingeki. The second part explores his relations with modernity regarding first the reform intended by him in a theatrical landscape dominated by tradition, then his search for a popular audience underlining his second phase and becoming more complex in conjunction with his quest for a national theatre. Thereafter we examine the emergence of mise en scène, a concept specific to western theatre and its evolution through the examination of three emblematic plays. Lastly we analyse the contribution of western theatre through four visionaries: first E.G.Craig of whom he has drawn much and then getting in touch with three directors, Stanislavski, Reinhardt and Meyerhold that impacted his own work. All along the third part we study the complexity of Osanai’s relations with traditional theatre, aspect which is not properly considered in Japan, focusing mainly on kabuki without neglecting puppets theatre [bunraku] and nô. We broaden our research on the tradition’s paradigm to two Japanese stage directors, Suzuki Tadashi and Miyagi Satoshi [Ku Na’uka].

A presente pesquisa tem o objetivo de contribuir para os estudos das artes cênicas japonesas no Brasil, abordando a trajetória da coreógrafa japonesa, Ishii Kaoru (1932). Nascida e residente em Tóquio, Kaoru é a última aluna direta de um dos pioneiros da dança moderna no Japão, Ishii Baku (1886-1962). Com mais de 50 anos de carreira, ela é uma das mais experientes artistas em atividade no seu país. Tomando como base o material produzido durante a pesquisa de campo e as experiências geradas a partir do contato direto com a coreógrafa, a presente dissertação parte da premissa de que, através do percurso artístico de Kaoru, seria possível abordar questões relacionadas à criação em dança e à atuação do bailarino não apenas no contexto japonês mas também no âmbito das artes cênicas de forma abrangente. Assim, aponta-se a possibilidade de uma metodologia de pesquisa baseada na experiência do pesquisador-artista. / This research aims to contribute to the studies on Japanese performing arts in Brazil, broaching the trajectory of the Japanese choreographer, Ishii Kaoru (1932). Born and resident in Tokyo, Kaoru is the last direct pupil of one of the pioneers of modern dance in Japan, Ishii Baku (1886-1962). With over 50 years of career, Kaoru is one of the most experienced artists working actively in her country. Based on the material produced during the field research and the experiences generated from direct contact with the choreographer, this thesis assumes that through the artistic journey of Kaoru it would be possible to address issues related to the creation in dance and performance of the dancer not only in the Japanese context but also within the performing arts in a broad manner. In this way, it hints at the possibility of a research methodology based on researcher-artist experience.

A presente pesquisa tem o objetivo de contribuir para os estudos das artes cênicas japonesas no Brasil, abordando a trajetória da coreógrafa japonesa, Ishii Kaoru (1932). Nascida e residente em Tóquio, Kaoru é a última aluna direta de um dos pioneiros da dança moderna no Japão, Ishii Baku (1886-1962). Com mais de 50 anos de carreira, ela é uma das mais experientes artistas em atividade no seu país. Tomando como base o material produzido durante a pesquisa de campo e as experiências geradas a partir do contato direto com a coreógrafa, a presente dissertação parte da premissa de que, através do percurso artístico de Kaoru, seria possível abordar questões relacionadas à criação em dança e à atuação do bailarino não apenas no contexto japonês mas também no âmbito das artes cênicas de forma abrangente. Assim, aponta-se a possibilidade de uma metodologia de pesquisa baseada na experiência do pesquisador-artista. / This research aims to contribute to the studies on Japanese performing arts in Brazil, broaching the trajectory of the Japanese choreographer, Ishii Kaoru (1932). Born and resident in Tokyo, Kaoru is the last direct pupil of one of the pioneers of modern dance in Japan, Ishii Baku (1886-1962). With over 50 years of career, Kaoru is one of the most experienced artists working actively in her country. Based on the material produced during the field research and the experiences generated from direct contact with the choreographer, this thesis assumes that through the artistic journey of Kaoru it would be possible to address issues related to the creation in dance and performance of the dancer not only in the Japanese context but also within the performing arts in a broad manner. In this way, it hints at the possibility of a research methodology based on researcher-artist experience.

Zugl.: Düsseldorf, Univ., Diss., 2004