渡沼 玲史

本研究では情報技術が論理としての言語では表現できないが実践できるようになる過程 「暗黙の理解」 をどのように支援できるかを探るため,自分自身の舞踊がモーションキャプチャ計測された経験のある日本舞踊指導者と学習者に,日本舞踊の教育,習得におけるモーションキャプチャの利用可能性についてインタビューを実施した.回答者のコメントから,モーションキャプチャは学習者が試行錯誤し,自分なりのやり方を発見していく過程において,新しい視点を喚起するという役割を担い得ることを見いだした.

Nihon Buyo, which is a traditional Japanese dance, consists of several mediums including dance, music and costume. The dance creates multiple effects including meaning, sense and spectacle using these mediums. These effects can represent concrete meaning just as words do, and this meaning expresses in the lyrics of the accompanying music. The concrete meaning of the dance gestures can be derived from the meaning of the lyrics. In short, the meaning of Nihon Buyo has been considered to be equivalent to the meaning in the lyrics of the accompanying music.<br>In this paper, we analyze another process of generating concrete meaning in Nihon Buyo. We look at "Musume-Doujouji (1753)" which is one of the masterpieces of Nihon Buyo, as an example.<br>First we assume that there is a structure in which various relations between the mediums and the effects exist. Then we indicate that the process of generating meaning is not as simple as interpreting from lyrics to gesture, but has a more complicated system in this structure. Last, we conclude that the concrete meaning of Nihon Buyo is not equal to the meaning of lyrics but is generated from the system of the structure. In this sense, the concrete meaning of lyrics can be expressed by the gestures. This paper illuminates the historical change of Nihon Buyo and its method of representation.