{"title":"Okinawan Absence: Ma in Kumiodori","authors":"SYLWIA DOBKOWSKA","doi":"10.1017/s0307883324000191","DOIUrl":null,"url":null,"abstract":"<p>This article considers the Okinawan aesthetic of Kumiodori and the role of absence in making a performance. There are two case studies of Kumiodori performances selected for this article, both written by the maker of this theatre style – Tamagusuku Chōkun. I watched both performances of <span>Kōkō no Maki</span> and <span>Nidō Tekiuchi</span> in the National Theatre in Okinawa. I discuss the concept of absence, described as <span>ma</span> (<span>間</span>), through the theory and the interpretation of those performances. The article begins with a brief outline of Kumiodori and the cultural context of the Ryukyu Kingdom, followed by description of the concept of <span>ma</span> in literature, live performance and the culture in general. Finally, two case studies are introduced. The article aims to present an example of the Okinawan version of <span>ma</span> in theatre.</p>","PeriodicalId":55955,"journal":{"name":"THEATRE RESEARCH INTERNATIONAL","volume":"7 1","pages":""},"PeriodicalIF":0.3000,"publicationDate":"2025-01-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"THEATRE RESEARCH INTERNATIONAL","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1017/s0307883324000191","RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"THEATER","Score":null,"Total":0}
引用次数: 0
Abstract
This article considers the Okinawan aesthetic of Kumiodori and the role of absence in making a performance. There are two case studies of Kumiodori performances selected for this article, both written by the maker of this theatre style – Tamagusuku Chōkun. I watched both performances of Kōkō no Maki and Nidō Tekiuchi in the National Theatre in Okinawa. I discuss the concept of absence, described as ma (間), through the theory and the interpretation of those performances. The article begins with a brief outline of Kumiodori and the cultural context of the Ryukyu Kingdom, followed by description of the concept of ma in literature, live performance and the culture in general. Finally, two case studies are introduced. The article aims to present an example of the Okinawan version of ma in theatre.
这篇文章探讨了冲绳人对kumioori的审美以及缺席在表演中的作用。本文选择了两个关于Kumiodori表演的案例研究，都是由这种戏剧风格的创造者Tamagusuku Chōkun撰写的。我在冲绳国立剧场观看了Kōkō no Maki和niditekiuchi的演出。我通过对这些表演的理论和解读来讨论“缺席”的概念。本文首先简要介绍了琉球舞和琉球王国的文化背景，然后介绍了文学、现场表演和琉球文化中的舞的概念。最后，介绍了两个案例研究。这篇文章的目的是要呈现一个冲绳版戏剧的例子。
期刊介绍：
Theatre Research International publishes articles on theatre practices in their social, cultural, and historical contexts, their relationship to other media of representation, and to other fields of inquiry. The journal seeks to reflect the evolving diversity of critical idioms prevalent in the scholarship of differing world contexts. Published for the International Federation for Theatre Research
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