2023/09/27 更新

写真a

ミヨシ　リキ
三好　力
News & Topics
所属
教育・総合科学学術院 教育学部
職名
講師（専任）

研究分野

  • 英文学、英語圏文学
 

論文

  • “Betwixt the Acts”: Entr’acte Entertainment on the London Stage, 1660-1700

    Miyoshi, Riki

    学術研究   71 ( 71 ) 125 - 133  2023年03月

  • JOSEPH HAINES AND TRAY THE DOG

    Riki Miyoshi

    NOTES AND QUERIES    2022年12月

    DOI

    Scopus

  • "Upon the Actors it depends too much": Scaramouche versus Moliere on the 1670s London Stage

    三好 力

    Annual Bulletin of the Johnson Society   42   19 - 25  2018年

  • A Tale of Two Theatres: Theatrical Rivalry between the King’s Company and the Duke’s Company, 1668-1672

    Riki Miyoshi

    Restoration: Studies in English Literary Culture, 1660-1700   40 ( 1 ) 25 - 44  2016年

    DOI

  • The old commoner: Matthew Medbourne's tract of 1673

    Riki Miyoshi

    Notes and Queries   62 ( 2 ) 263 - 265  2015年06月

    DOI

    Scopus

  • An unpublished document relating to the restoration actor Michael Mohun

    Riki Miyoshi

    Notes and Queries   62 ( 2 ) 265 - 266  2015年06月

    DOI

    Scopus

  • “Y’are welcome to the downfal of the Stage”: Charles Killigrew and the Demise of the King’s Company, 1677-1682

    Riki Miyoshi

    Poetica: An International Journal of Linguistic-Literary Studies   84   25 - 44  2015年

  • 'We have this day, expell'd our Men the Stage': Dating the Prologue and Epilogue of The Parson's Wedding

    Riki Miyoshi

    EARLY THEATRE   18 ( 2 ) 119 - 123  2015年

    　概要を見る

    Scholars of Restoration theatre have given contradictory accounts as to which all-female production of Thomas Killigrew's The Parson's Wedding the existing prologue and epilogue belong to. This note argues that out of the two productions in the Restoration period - the first of which took place in October 1664 and the second in June 1672 - the surviving prologue and epilogue were most likely written for the second production. Combining evidence gathered from historical records with textual analysis, this note is the first study to comprehensively investigate this conundrum.

    DOI

  • NEW LIGHT ON THOMAS KILLIGREW'S ACTIVITIES FROM 1643 TO 1647

    Riki Miyoshi

    NOTES AND QUERIES   61 ( 3 ) 387 - 388  2014年09月

    DOI

    Scopus

  • WAS THOMAS KILLIGREW A CRIPPLE? AN UNPUBLISHED LETTER FROM THOMAS KILLIGREW TO THE DUKE OF ORMONDE

    Riki Miyoshi

    NOTES AND QUERIES   61 ( 3 ) 388 - 391  2014年09月

    DOI

    Scopus

  • WHEN DID GEORGE BEESTON JOIN THE KING'S COMPANY? NEW INFORMATION IN AN UNPUBLISHED LETTER

    Riki Miyoshi

    THEATRE NOTEBOOK   68 ( 2 ) 66 - 68  2014年

  • SAMUEL SANDFORD AND COLLEY CIBBER: TWO PLAYERS' ACTING TECHNIQUES AND THE RISE AND FALL OF RESTORATION VILLAIN TRAGEDY ON THE LONDON STAGE FROM THE 1670S TO THE 1730S

    Riki Miyoshi

    THEATRE NOTEBOOK   68 ( 3 ) 136 - 152  2014年

  • Thomas Killigrew’s Early Managerial Career: Carolean Stage Rivalry in London, 1663-1668

    Restoration and Eighteenth-Century Theatre Research   27 ( 2 ) 13 - 33  2012年

  • Convert or Counterfeit: The Twin Rivals and George Farquhar’s True Attitude to Jeremy Collier’s Advice

    Riki Miyoshi

    The Round Table   ( 25 ) 77 - 104  2011年

  • The Authentic Rivalry of George Powell and Robert Wilks: George Farquhar’s Opportunistic Casting Decision in The Constant Couple

    Riki Miyoshi

    Colloquia   ( 32 ) 37 - 48  2011年

  • George Farquhar’s A Discourse upon Comedy: A Contribution to the Collier Controversy

    The Round Table   ( 24 ) 63 - 72  2010年

  • “There Scarce is Room for Satire”: George Farquhar’s Moral Move from City to Country

    Colloquia   ( 31 ) 35 - 44  2010年

▼全件表示

共同研究・競争的資金等の研究課題

  • Entr'acte Entertainment on the London Stage, 1660-1800

    日本学術振興会  科学研究費助成事業 若手研究

    研究期間:

    2018年04月
    -
    2023年03月
     

    三好 力

    　概要を見る

    Loosely termed as the Garrick-Sheridan era, this last phase of the research project focuses on the period from the Licensing Act of 1737 to 1800. My research has thus far indicated that entr’acte performances gradually begin to fall out of favour during this period. The decline in entr’acte entertainment is closely linked with budget cut-backs on dancers in London theatres. John Rich, for instance, devoted approximately 25% of his performer budget to dancers at the Covent Garden Theatre in 1735-36, whereas by 1789-90 the same theatre only spent approximately 9.5% of the performer budget on dancers (Judith Milhous, ‘Reading Theatre History from Account Books’ in Players, Playwrights, Playhouses, p. 124). The waning of dance, and in turn the decline of entr’acte entertainment in general, is no doubt in large part due to the introduction of ballet d’action to London in the 1780s but I also argue that the concept of the “whole show” became less fashionable by the turn of the century.

  • Foreign Entertainers and English Drama in the Age of Charles II

    日本学術振興会  科学研究費助成事業 研究活動スタート支援

    研究期間:

    2016年08月
    -
    2018年03月
     

    三好 力

    　概要を見る

    王政復古期演劇研究の対象として取り上げられることが少ない、当時ロンドンで活躍した外国人の俳優・芸人たち(主にフランス人とイタリア人)を研究対象に選んだ。本研究課題では特にチャールズII世が統治をしていた時代（1660-1685）に焦点を当て、資料収集を行うと共に彼らがどのようにその時代のイギリス演劇に影響を与えていくかを明らかにした。

Misc

  • Review of The Lively Arts of the London Stage, 1675-1725

    Riki Miyoshi

    Theatre Notebook   69 ( 1 ) 67 - 69  2015年

    書評論文，書評，文献紹介等  

  • Review of Restoration Plays and Players: An Introduction

    Riki Miyoshi

    Restoration and Eighteenth-Century Theatre Research   30 ( 1-2 ) 175 - 176  2015年

    書評論文，書評，文献紹介等  

  • Review of Rebranding Rule, 1660-1714: Restoration and Revolution Monarchy

    Riki Miyoshi

    The Oxonian Review    2014年

    書評論文，書評，文献紹介等  

  • Review of Thomas Killigrew and the Seventeenth-Century English Stage

    Riki Miyoshi

    Restoration and Eighteenth-Century Theatre Research   28 ( 1 ) 83 - 87  2013年

    書評論文，書評，文献紹介等  

 

現在担当している科目

▼全件表示

 

他学部・他研究科等兼任情報

  • 教育・総合科学学術院   大学院教育学研究科

特定課題制度（学内資金）

  • Animals on the London Stage,1660-1700

    2018年  

    　概要を見る

    I have amassed information on the use of animals on stage during the Restoration period by looking through various primary sources such as diary entries, performance calendars, plays, prologues and epilogues, and letters.