구로사와 아키라의 《거미집의 성蜘蛛巣城》고찰 - 전통예능 노(能)의 영향을 중심으로 -

Abstract

In the process of adapting Shakespeare’s original work 『Macbeth』, Kurosawa highlighted the artistry of the film by adopting the Noh form which was the characteristic style of Japanese traditional play. This thesis considered how the elements of Noh were utilized by Kurosawa, and the results of this consideration could be summarized as follows. First, paying attention to the ‘spider’ of the film title ‘Throne of Blood’, the director probably kept the Noh 『tsuchigumo』 where the spider monster appeared in mind. Second, the composition of the (1) opening scene(present), (2) story(past) surrounding Washizu of the past, and (3) ending scene(present) of 《Throne of Blood》 looks like the mugenno form in which the ghosts or spirits of plants taking after human’s look appear, tell their pasts, and reveal their identities. Also, Washizu meets a witch of forest two times. In the viewpoint of 『kuozuka』 borrowed by the director, Waki becomes Washizu. The first meeting with Washizu in the forest represents the first half of Noh while the second meeting with a female ghost revealing the identity represents the second half of it. Third, regarding Kurosawa’s directing, the author pointed out that Asaji’s sitting posture with a knee drawn-up and the slouching look would be related to Noh; Washizu also used the ‘ashibyosi’s technique of Noh; the exaggerated character contrast to Asaji’s moderate behavioral pattern reminded of kyogen’s clown. Lastly, regarding the music, the title song and Utai grab attention. First, the title song used for the opening scene and ending scene is the result of skillfully mixing the elements of Noh and the Western music, which shows the influence of the original work 《hey Who Step on the Tiger's Tail》. And, Utai at a feast fully performed the function to effectively reveal the main character’s guilt and psychological confusion by skillfully connecting the film circumstance of narrative development and Utai’s meaning in 『tamura』.