新潟県佐渡島には、「古浄瑠璃」による人形芝居が伝承されている。近世期の古態を残し、義太夫節では廃絶した近松門左衛門の作品を、今も上演する佐渡の古浄瑠璃人形芝居は、日本の伝統芸能史上、注目すべき特異な芸能である。本研究では、現在までの個別的研究を総括し、今後の佐渡古浄瑠璃研究の推進に向けた研究基盤を構築する。さらに、早稲田大学演劇博物館などの所蔵機関の協力を得、現地伝承者や研究者の利用が可能となるよう、佐渡古浄瑠璃の音声・映像資料のデジタル化保存、および公開を目指す。こうした総合的研究の成果により、貴重な伝統芸能である佐渡古浄瑠璃人形芝居の、国内外への普及と保存、未来への伝承を期すものである

It is the purpose of my research, to know how the play in the early Edo period was transmitted to the Japanese whole country. From 2004 to 2006,1 took up "Furyu-Odori" and "Kojoruri-Ningyo" as the material, and investigated several points.1. I investigated "Bon-Odori", that is handed down to Tsushima Island of Nagasaki Pref. My survey item was the route, historic changes, present transmission situation and folklore of "Tsushima Bon-Odori". "Tsushima Bon-Odori" differs largely from "Bon-Odori" in the latter Edo period. However, there is the common point called "Bon Furyu-Odori" in them. I evaluate "Tsushima Bon-Odori" was carried out in the mainland and handed down to until today. "Tsushima Bon-Odori" was based on various "Furyu-Odori". In 2004, I investigated "Furyu-Odori" of Tsushima Island periphery area and also Kyushu all area. In 2005, I investigated "Furyu-Odori" of Kyushu northwest department in detail. In 2006, I investigated "Furyu-Odori" of the detached island of the Kyushu south. There is a Tokara Island in Kagoshima Pref. I discovered that the song of "Tokara Bon-Odori" resemble "Tsushima Bon-Odori". I compared the "Tokara Bon-Odori" song with the song book of Kabuki. I investigated even the "Bon-Odori" of the island of the periphery. I tried the comparison of those songs.2. I investigated "Kojoruri-Ningyo" of Niigata Pref. Sado city and Kagoshima Pref. Tougou-cho. I tidied and analyzed old recording of "Sado Bunya-Joruri". I recorded the play not performed recently. Those were written by Monzaemon Chikamatsu. In Togo, I investigated historical material, and studied "Togo Bunya-Joruri" about the time and route of transmission. I asked the situation in the past to the transmission person of Togo, and knew about the changes since the Meiji period. I summarized that "Kabuki-Odori" and "Ningyo-Joruri" were transmitted to many areas in the early Edo period. Those were appreciated and changed every place

1.Making text criticism on Joururi Shou-hon scripts (scripts of Joururi) and collecting photocopies of themThere are a lot of Joururi Shou-hon scripts throughout Japan. But it is not easy for contemporary Japanese to read original Joururi Shou-hon scripts because of old characters used in Edo Period. There fore, we have to publish Joururi Shou-hon scripts in Modern characters.First, we collated as many Joururi Shou-hon scripts as possible. We confirmed the whereabouts of Joururi Shou-hon scripts that are listed in Gidayu Nenpyou Kinsei-hen (Chronology of Gidayu narration and Bunraku puppet theatre in Edo period) published in 1990,and we could find some titles of Joururi Shou-hon scripts which had been unknown in 1990. Second, being based on these researches, we investigated Joururi Shou-hon scripts for the purpose of reprinting from original ones. Finally we selected two texts per title : sourse texts and texts for collation. Furthermore, we made photocopies or took photos of these Joururi Shou-hons.2.Making a manual for reprinting from original Joururi Shou-hon scripts.We cannot write all of original Joururi Shou-hon characters with computers or word processors because some of characters are not in JIS-code (equivalent ASCII-code) and original Joururi Shou-hon scripts include not only texts but also Mojifu (a score for narrating and singing). We considered this feature of Joururi Shou-hon scripts, and discussed problemes which had occurred through reprinting works with computers. Through these attempts, we developed a manual.3.Making high-quality textsTo make a high-quality text, we checked the text through 5 steps. Each text was checked by 3 researches. In these 4 years, we made 14 title texts of Jourui scripts.4.For publishing a bookIn the 4 years, we made an effort to look for publishers. Fortunately, we came up with a publisher who will publish some titles in 2005 and this project will be continued.5.Completing a reportWe completed a report about these 4 years research

The purpose of this research is to clarify the characteristic of the rice field society which extends to east Asia. Tsushima and Bali were chosen as the investigation field. It aimed to clarify a traditional form of the rice field and the village on these ground, and to do the comparison research on the water field rice culture. The digitalization of the survey material with a remarkable evolution was positively used now, and the restoration research on the rice field, the village, and etiquette was advanced interdisciplinary.
The focus was decided in 豆酸(ツツ) located in the south end in Tsushima. An environment of the rice field where the red-kerneled rice divine service was held and historical details of the etiquette were investigated on this ground. In that case, it gave priority to digging up the history material. It investigated emphatically in the Tsushima history folk customs material pavilion. Nagasaki prefectural library, and Kongoin Temple, etc. The historical materials of about 6000 points was digitalized. These were input to the personal computer, it made to the table at once, and it used it to investigate the restoration. Moreover. 1/2000 topographical maps were made from the aerophotograph in this region by digital work, historical materials was used, and the spectacle restoration was advanced. As mentioned above, a pinpoint investigation of the village was advanced, and it served to clarify a historical role of Tsushima in this sea area.
On the other hand, the existence of the autonomous village having been supported by the etiquette of Hinduism so far was known in Bali. Terraced paddy fields exist in whole island in Bali, and progressing the arts of the play, music, the sculpture, and the painting, etc. has been paid to attention. Mainly this time. Subak (irrigation organization in Bali) was investigated. The comparison research in the rice field irrigation form named Bali Basangalas and Tsushima Tsutsu (豆酸) was done. As a result, the traditional irrigation form of the Bali village having evolved more than Japan became clear. These results were able to be brought together in the report 'Research of rice field formation and the water field rice culture in east Asia (Center on Japan)'.

We carried out the pre-subject "The Masque of the Southwest China, Research of Basis Culture" paying attention to their appearance, when the <masque> remained in whole China considered generation, development, change, and the special feature of the "basis culture" not only in the history of the Chinese theater but the whole Chinese culuture.This research is based on the result of a pre-subject, and the archaeological viewpoint which considers the remains excavated from the ruins of every place over China is also called with the cooperation of the China archaeology community. Opinion exchange was performed during the research with several researchers in archaeology. And Inahata summarized the discovered view on the work "Symphony music of God and a Man : The World of a Chinese Mask" in the 2003 fiscal year. Thus, the necessity of positioning the representation of not only the role in the ceremony courtesy entertainments of a <masque> but the <mask> itself into the China culture and world culture came out. And it is possible.The researched points and the investigation about a religious function person which were conducted during the period are summarized in this booklet. In addition to Qianbei area in Guizhou, at the International Nuoxi Society held in Dejiang, Guizhou in 2003, the courtesy of a Qiandongbei area Dejiang and Tongren town was also able to be visited. So many ceremony courtesy remain from Qianbei area to Qiandongbei area. Speaking of Tongren of Qiandongbei area, it is close to the <Chu> cultural sphere in Hunan. I want to open the investigation ground further and to also investigate the representation of a <mask> from now on

　2003年度は主として九州の風流芸能の分布状況の把握と、伝承地の調査に重点を置いて研究を進めた。8月の旧盆時期にトカラ列島十島村悪石島の盆踊、鹿児島県坊津町久志の太鼓踊、同県加治木町の太鼓踊、9月に同県与論町の十五夜踊を調査した。　悪石島の盆踊は、元禄17年刊行の『落葉集』所収の踊歌と一致するものがあり、古い時期に都から伝来した歌謡であることがわかる。さらにその歌謡が、わずかながら長崎県対馬の盆踊歌とも一致するものがあり、両者に直接的な関係があるとは思われないので、中央の歌謡が長崎や鹿児島の離島にまで伝播し、他では失われてしまった後も、今日まで伝承されてきたと考えることができる。近世の都市の盆踊について、こうした伝播の関係は従来ほとんど知られておらず、きわめて珍しい例であるといえよう。　加治木町の太鼓踊については、近世中期の文献が残っており、現在までの変遷を知ることができる。近世中期には文弥節を踊歌として取り入れるなど、当時の流行歌の摂取につとめており、新奇な趣向を競っていたことが明らかである。薩摩藩では近世中期まで藩外からの文化の流入を拒む傾向にあったといわれることが多いが、先端的な文化を求める欲求が庶民の中に根強かったことが知られる。　与論町の十五夜踊は、琉球にも共通する豊年祭の形式の中に、狂言「末広かり」、元禄歌舞伎に関連のある「大隈川」、野郎歌舞伎風の「頼朝公」などが伝承されており、従来からヤマトの芸能との関連を示すものとして注目されている。これが中央と直接の関係を示すのか、薩摩藩からの伝来なのかは、あまりにも伝承が退化していて判然としない。　このように、調査対象の芸能は、いずれも都市芸能の地方伝播を検討する上で、極めて興味深い事例を提供してくれている。今後はさらに文献資料の調査と合わせて、伝播の時期や経路の把握に努めたい。　なお、2004年度は科学研究費採択のため特定課題としては廃止した。