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新技法シリーズ64『 舞台美術の実際 豊富な作例によるプランから制作まで 』美術出版社 ●根岸正晃/織田音也/中嶋八郎/金井俊一郎/石井康博
        

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    :Damaged and stained (specify in description)
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新技法シリーズ64『 舞台美術の実際 豊富な作例によるプランから制作まで 』美術出版社 1978

□商品詳細
159ページ
発 行:美術出版社
発行年:1978(昭和53)/1/20
サイズ:26.2 cm × 18.5 cm × 1.3 cm

【内容説明】

新技法シリーズ64
 『 舞台美術の実際 豊富な作例によるプランから制作まで 』

根岸正晃/織田音也/中嶋八郎/金井俊一郎/石井康博


・目次

はじめに
舞台美術とはどういうものか
(1)舞台美術の歩み
(2)舞台美術とは何をさすのか

第1章 舞台美術と脚本の読み方
(1) 舞台美術の作業の主体
  ■舞台装置と大道具
  ■演技の場と演技の用具
(2) 舞台をデザインする
  ■出道具と持ち道具
  ■舞台装置図とは
  ■意図を明確に指定する
(3)まず脚本を読むことから
  ■作家の意図を汲みとる
  ■ト書について
   ーA「忠臣蔵」からー
   ーB「藤十郎の恋」から一
(4) 時代考証と季節
(5)舞台美術家の心得
(6)創作の実際一九女八一座の人々ー
   ■あらすじと時代背景
   ■舞台の考案
   ■演出家との対話や劇場との兼ねあい
   ■舞台転換とタイミング
<アマチュア演劇の舞台美術について>
<専門用語と舞台ことば>
<芝居ことば雑記>

第2章 非写実的舞台と具体的作業の段どり
(1)平面図の作成
(2)ト音の書き抜き
(3)資料採集とスケッチ
(4)実際の作例から

A.<雁の寺>一水上勉作からー
  ■ト書の書きと図表の作成
  ■基本舞台の考案
  ■各場面の設定と転開

B.<野盗風の中を走る)
  一真山美保作から

(5)生活の中から素材を掴む
  ■日本家屋について
  ■洋風家屋の場合
  ■自然現象から
(6)舞台転換
(7) 模型舞台
(8) 非写実的舞台装置の描き方
<非写実的舞台装置について>
<演劇の種類と劇場>
<舞台寸法の物指>

第3章 時代考証と実地検証
(1) "個大橋もとり船”の試作から
(2)"洲崎パラダイズ”の試作から
<舞台照明のこと>
<反省と楽しさと>

第4章 歌舞伎舞台の歴史と美
(1) 概説
(2)歌舞伎舞台の歴史と変遷
  ①歌舞伎以前の舞台美術
   ■神事から発生
   ■大衆のエネルギーの中から
  ②歌舞伎舞台美術の発生期
   ■阿国歌舞伎全盛
   ■若衆歌舞伎の発生
   ■続き狂言の発生と引き幕
   ■花道の出現
  ③歌舞伎舞台美術の成長期
   ■歌舞伎劇場の完成
   ■歌舞伎舞台の原型整う
   ■人力による舞台のからくり
   ■大阪から江戸へ
  ④歌舞伎舞台美術の全盛期
   ■大道具師の誕生
   ■蛇の目廻しの考案
   ■南北没後の歌舞伎
  ⑤明治から現代へ
   ■欧風化への道
   ■電灯の常設と舞台照明
   ■歌舞伎の不自然さと子盾
   ■民衆から上流階級へ
   ■電気照明の出現
   ■太平洋戦争のピンチを切り抜けて
(3)歌舞伎における演劇形態
   ■江戸の荒事
   ■上方の和事
(4) 歌舞伎舞台美術の美学
   A 情況設定の美
   B 絢爛の美
   C 省略の美
   D 象徴の美
   E 健全の美
   F 退廃の美
   G スペクタクルの美
   H ケレンの美
(5) 結語

第5章 作品集から
第6章 用語辞典

あとがき
付・素引


【状態】
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古本としては標準的な状態だと思います。


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    Product name: 新技法シリーズ64『 舞台美術の実際 豊富な作例によるプランから制作まで 』美術出版社 ●根岸正晃/織田音也/中嶋八郎/金井俊一郎/石井康博
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