作者：(日本)山冈庄八 译者：岳远坤 陈都伟
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Extra info for 德川家康05：龙争虎斗(Tokugawa Ieyasu, Book 5)
11 It is most remarkable that the first of the short plays in this spectacle shows us a father admonishing his custom-flouting daughter and begins with the entrance of ghosts. Or rather, the male and female characters who are going to enact the unfolding of this stock dramatic theme first appear as characters in ghostly form, and are seen in the guise of an illusion proper to all dramatic characters, before allowing any development in the situations of this kind of figurative sketch. Anyway, the situations only serve as a pretext in this case and the play does not develop through the emotions but through states of mind, themselves stilted and epitomised in gestures-outlines.
26 other expressive means. It is easy to see the result of these combinations, their interaction and mutual subversion. I will return below to the subject of this poetry which can only be fully effective if it is tangible, that is to say if it objectively produces something owing to its active presence on stage-if, as in the Balinese theatre, a sound corresponds to a certain gesture and instead of acting as decor accompanying thought, makes it develop, guiding it, destroying it or decisively changing it, etc.
13 Aside from this show's stupendous precision, 14 the thing which seems to surprise and astonish us the most is this revealing aspect of matter, suddenly seeming to disperse in signs, to teach us the metaphysical identity of abstract and concrete and to teach it to us in lasting gestures. For though we are familiar with its realistic aspect, here it is raised to the nth power and absolutely stylised. * All creativity stems from the stage in this drama, finding its expression and even its sources in a secret psychic impulse, 1 5 speech prior to words.
德川家康05：龙争虎斗(Tokugawa Ieyasu, Book 5) by 山冈庄八