인문학
사회과학
자연과학
공학
의약학
농수해양학
예술체육학
복합학
DBpia AI
AI 에이전트
AI 아이디어
AI 리더
AI 뷰어
Citeasy
크롬 서지관리 다운로드
지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록·키워드
There are two contrasting standpoints from which to view traditional arts. While one views traditional arts as invaluable assets and as a public good whose ownership is not limited to a few individuals but rather shared by all members of a society, the other views traditional arts as a cultural good whose vitality stems from the process in which its rightful value is recognized as it is produced and consumed amidst the competition with other cultural goods active within the market that characterizes capitalist society. This issue naturally arises not only in conjunction with Kabuki in Japan, but also with any traditional art from any part of the world when the latter is perceived from the standpoint of performing art. In this regard, the standpoint from which this question is approached has a marked impact on the main focal point in terms of its perception and explanation, the orientation of the creators, developmental direction of the actual art and of policy support. The difference between these standpoints is very important because such differences can lead to the elimination of a performing art category or to an utter change in the general map of the arts by pushing something into the mainstream.
The background to Kabuki’s stabilization as a representative Japanese performing art can be traced back to the historical opportunity which emerged to concretize its status as both a public good and a commercial art. Here, Shochiku Co. Ltd. can be identified as having been at the center of the process through which this historical opportunity was created during the Meiji Period. Based on its management of Kabuki theaters, Shochiku Co. Ltd. was able to develop Kabuki as a commercial art. However, it also maintained the reputation of Kabuki as a traditional Japanese cultural property by introducing in the show biz management sector a system through which Kabuki actors received an education that was based on the traditional Iemoto system. This example of Shochiku Co. Ltd. should be viewed from the standpoint of the artists who create traditional arts amidst the tension between publicity and market supremacy, the public who views these arts, and the cultural policy makers who establish and implement the related measures amidst such tensions.
The background to Kabuki’s stabilization as a representative Japanese performing art can be traced back to the historical opportunity which emerged to concretize its status as both a public good and a commercial art. Here, Shochiku Co. Ltd. can be identified as having been at the center of the process through which this historical opportunity was created during the Meiji Period. Based on its management of Kabuki theaters, Shochiku Co. Ltd. was able to develop Kabuki as a commercial art. However, it also maintained the reputation of Kabuki as a traditional Japanese cultural property by introducing in the show biz management sector a system through which Kabuki actors received an education that was based on the traditional Iemoto system. This example of Shochiku Co. Ltd. should be viewed from the standpoint of the artists who create traditional arts amidst the tension between publicity and market supremacy, the public who views these arts, and the cultural policy makers who establish and implement the related measures amidst such tensions.
본문·목차
인공지능 문자 인식 모델을 통해 추출된 텍스트로, 일부 오타나 오류가 포함될 수 있으나 지속적으로 개선 중입니다.
오류를 발견하셨다면 해당 부분을 드래그한 후 ' 를 통해 신고해주세요.
오류를 발견하셨다면 해당 부분을 드래그한 후 ' 를 통해 신고해주세요.
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UCI(KEPA) : I410-ECN-0101-2013-910-000545733
