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人形浄瑠璃の円の動きによる感情表現 ― モーションキャプチャを用いた分析 ―
https://doi.org/10.34356/00000742
https://doi.org/10.34356/000007427e8aba39-2b9f-42dd-b226-4c3307d9a751
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
人形浄瑠璃の円の動きによる感情表現―モーションキャプチャを用いた分析― (1.5 MB)
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| Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||||||
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| 公開日 | 2021-10-19 | |||||||||
| タイトル | ||||||||||
| タイトル | 人形浄瑠璃の円の動きによる感情表現 ― モーションキャプチャを用いた分析 ― | |||||||||
| タイトル | ||||||||||
| タイトル | A Study of Emotional Expression Through the Movement of Circles in Ningyo Joruri : An Analysis Using Motion Capture | |||||||||
| 言語 | en | |||||||||
| 言語 | ||||||||||
| 言語 | jpn | |||||||||
| 資源タイプ | ||||||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||||||
| 資源タイプ | departmental bulletin paper | |||||||||
| ID登録 | ||||||||||
| ID登録 | 10.34356/00000742 | |||||||||
| ID登録タイプ | JaLC | |||||||||
| 著者 |
早野, 慎吾
× 早野, 慎吾
× 董, 然
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| 著者別名 | ||||||||||
| 識別子Scheme | WEKO | |||||||||
| 識別子 | 10775 | |||||||||
| 姓名 | HAYANO, Shingo | |||||||||
| 著者別名 | ||||||||||
| 識別子Scheme | WEKO | |||||||||
| 識別子 | 10899 | |||||||||
| 姓名 | DONG, Ran | |||||||||
| 抄録 | ||||||||||
| 内容記述タイプ | Abstract | |||||||||
| 内容記述 | Abstract In Ningyo Joruri (puppet theater), it is said that one can feel "life" and "soul" (mind) in the movements and appearance of the puppets. It has already been pointed out that one of the factors that give puppets a sense of "life" in Ningyo Joruri is their expression of emotion. We analyze the mechanism of feeling "life" and "soul" in non-human beings, collectively expressed as "personification". We have already reported that movement of the circle and slow and rapid rhythm are major elements of emotional expression. In this paper, we analyze four scenes (obsession, favor, anguish, and despair) from "Hidakagawa Iraizakura" danced by Nishikawa Koryu V. Analysis of the motion capture data showed that a figure eight was used frequently in the expression of attachment. Favor was expressed through large, relaxed circular movements. In the expression of distress, intense emotions are conveyed by interweaving linear movements. In the expression of anguish, small circles and trembling were frequently used to conveyed unfocused emotions. In addition, slow and rapid pace of acceleration at the beginning of the phrase and deceleration at the end of the phrase was in tune with the narration of the Tayu. |
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| 出版者 | ||||||||||
| 出版者 | 都留文科大学 | |||||||||
| 書誌情報 |
都留文科大学研究紀要 en : 都留文科大学研究紀要 号 94, p. 1-10, 発行日 2021-10-20 |
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| ISSN | ||||||||||
| 収録物識別子タイプ | ISSN | |||||||||
| 収録物識別子 | 0286-3774 | |||||||||
| NCID | ||||||||||
| 収録物識別子タイプ | NCID | |||||||||
| 収録物識別子 | AN00149431 | |||||||||
