{"created":"2023-07-25T09:58:46.960808+00:00","id":1252,"links":{},"metadata":{"_buckets":{"deposit":"8c8df5a0-f317-4931-b034-bf88c99ff2c3"},"_deposit":{"created_by":8,"id":"1252","owners":[8],"pid":{"revision_id":0,"type":"depid","value":"1252"},"status":"published"},"_oai":{"id":"oai:kunion.repo.nii.ac.jp:00001252","sets":["91:140"]},"author_link":["2550","2551"],"item_2_biblio_info_12":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"2015-03-31","bibliographicIssueDateType":"Issued"},"bibliographicPageEnd":"45","bibliographicPageStart":"37","bibliographicVolumeNumber":"49","bibliographic_titles":[{"bibliographic_title":"研究紀要"},{"bibliographic_title":"Kunitachi College of Music journal","bibliographic_titleLang":"en"}]}]},"item_2_description_10":{"attribute_name":"抄録(日)","attribute_value_mlt":[{"subitem_description":"2013年12月8日に初演されたアンドレアス・ホモキ演出の≪フィデリオ≫は、対話を全面的に削除し、舞台装置と衣装を最低限度にして極度に抽象化し、しかも物語の順番を組み替えるという斬新なものであった。本稿の目的は、この演出の2日目の上演を観劇した筆者の体験をもとに、その意味と効果を考察することにある。《フィデリオ》は冷戦の終結に至るまで、とりわけドイツ語圏において、さまざまな政治的解釈をまとわされてきた。本稿では、この点についても概観し、ホモキの演出が、その後の演出史の系譜上にあることを明らかにした。その上で、ホモキ自身の説明や初演当時の批評を参考にしつつ、新演出の要点を3つにまとめ、それぞれの意味と効果を考察した。最後に、ホモキの演出は、オペラが劇場で何を伝えるべきかという観点からは疑問の余地を残すものの、《フィデリオ》の音楽面での効果を高めるのに有効ではあるという結論を導いた。","subitem_description_type":"Other"}]},"item_2_description_15":{"attribute_name":"表示順","attribute_value_mlt":[{"subitem_description":"4","subitem_description_type":"Other"}]},"item_2_description_16":{"attribute_name":"アクセション番号","attribute_value_mlt":[{"subitem_description":"KJ00009790322","subitem_description_type":"Other"}]},"item_2_description_8":{"attribute_name":"記事種別(日)","attribute_value_mlt":[{"subitem_description":"論文","subitem_description_type":"Other"}]},"item_2_source_id_1":{"attribute_name":"雑誌書誌ID","attribute_value_mlt":[{"subitem_source_identifier":"AN00066006","subitem_source_identifier_type":"NCID"}]},"item_2_source_id_19":{"attribute_name":"ISSN","attribute_value_mlt":[{"subitem_source_identifier":"02885492","subitem_source_identifier_type":"ISSN"}]},"item_2_text_6":{"attribute_name":"著者所属(日)","attribute_value_mlt":[{"subitem_text_value":"国立音楽大学"}]},"item_2_text_7":{"attribute_name":"著者所属(英)","attribute_value_mlt":[{"subitem_text_language":"en","subitem_text_value":"Kunitachi College of Music"}]},"item_2_title_3":{"attribute_name":"論文名よみ","attribute_value_mlt":[{"subitem_title":"チューリヒ カゲキジョウ 2013/14 シーズン ノ フィディリオ シン エンシュツ ニ ツイテ"}]},"item_access_right":{"attribute_name":"アクセス権","attribute_value_mlt":[{"subitem_access_right":"metadata only access","subitem_access_right_uri":"http://purl.org/coar/access_right/c_14cb"}]},"item_creator":{"attribute_name":"著者","attribute_type":"creator","attribute_value_mlt":[{"creatorNames":[{"creatorName":"沼口, 隆"},{"creatorName":"ヌマグチ, タカシ","creatorNameLang":"ja-Kana"}],"nameIdentifiers":[{}]},{"creatorNames":[{"creatorName":"Numaguchi, Takashi","creatorNameLang":"en"}],"nameIdentifiers":[{}]}]},"item_keyword":{"attribute_name":"キーワード","attribute_value_mlt":[{"subitem_subject":"ベートーヴェン"},{"subitem_subject":"フィデリオ"},{"subitem_subject":"オペラ"},{"subitem_subject":"演出"},{"subitem_subject":"チューリヒ歌劇場"}]},"item_language":{"attribute_name":"言語","attribute_value_mlt":[{"subitem_language":"jpn"}]},"item_resource_type":{"attribute_name":"資源タイプ","attribute_value_mlt":[{"resourcetype":"departmental bulletin paper","resourceuri":"http://purl.org/coar/resource_type/c_6501"}]},"item_title":"チューリヒ歌劇場2013/14シーズンの《フィデリオ》新演出について","item_titles":{"attribute_name":"タイトル","attribute_value_mlt":[{"subitem_title":"チューリヒ歌劇場2013/14シーズンの《フィデリオ》新演出について","subitem_title_language":"ja"},{"subitem_title":"Some Thoughts on a New Production of \"Fidelio\" in Zurich 2013/2014","subitem_title_language":"en"}]},"item_type_id":"2","owner":"8","path":["140"],"pubdate":{"attribute_name":"PubDate","attribute_value":"2017-02-22"},"publish_date":"2017-02-22","publish_status":"0","recid":"1252","relation_version_is_last":true,"title":["チューリヒ歌劇場2013/14シーズンの《フィデリオ》新演出について"],"weko_creator_id":"8","weko_shared_id":-1},"updated":"2023-09-12T03:19:58.506090+00:00"}