2 0 0 0 OA マリヴォー『贋の侍女』と『愛の勝利』 -眼差しのドラマツルギーにみる人間像-
- 著者
- 奥 香織
- 出版者
- 早稲田大学大学院文学研究科
- 雑誌
- 早稲田大学大学院文学研究科紀要 第3分冊 日本語日本文学 演劇映像学 美術史学 日本語日本文化 (ISSN:13417533)
- 巻号頁・発行日
- vol.53, pp.33-47, 2008-02-28
1 0 0 0 ルサージュの初期作品にみるアルルカンの表象
This paper aims to explain the features and uniqueness of Harlequin (Arlequin) in Lesage’s 1713 fair theater: <i>Arlequin, roi de Serendib</i>, performed at the fair St. Germain; <i>Arlequin Thétis</i>, performed at the fair St Laurent; and <i>Arlequin invisible</i>, performed at the fair St. Laurent.During the early eighteenth-century, performances at the fairs of Paris were very popular. The Commedia dell’arte’s characters, especially Harlequin, took center stage in these performances. When Lesage wrote these three plays, speaking parts were prohibited on stage at fairs. Under these circumstances Lesage presented silent drama in which the audience sings the words that should be said by actors. So, in three plays written in this form, the corporality is particularly emphasized, and it is Harlequin that has a particularly important role. Traditionally, the body language is one of the most important elements of this character; furthermore, in this period, Harlequin’s image, nature, and gestures are shared by the audience: common codes function during performance. By using effectively Harlequin’s well-known character and gestures, Lesage tries to create his own silent drama in a difficult and particular condition for playwrights.In Lesage’s three works, Harlequin moves around freely in a fantasy world influenced by Italian comedy performed in seventeenth-century Paris. Traditional features of this character (gluttony, greed, lust for women) are adroitly integrated into each story. In all cases, Lesage’s Harlequin concentrates on mimes each action, because he cannot say anything meaningful on stage: In this situation, the audience concentrates intensely on his mimic function. By combining the well-known commedia gestures (lazzi) and traditional plot features of Harlequin, Lesage creates his own world, which pivots on corporality.In the official theater of eighteenth-century France, Harlequin becomes more “human,” but Lesage’s works demonstrate that this character appears differently at the fair because of his use of body language. Lesage’s attempt in his early career has not been considered outstanding work when compared to form his opéra-comiques later in the century. Yet his early works are important from the perspective of the development of body language and pantomime—important features of later eighteenth-century drama. His experiment in this particular theatrical form is only temporary, yet his efforts influence later popular theater, and especially nineteenth-century theater in France. Lesage’ss Harlequin only appears at “non-official” places, but he still plays an important role in the history of French theater.
1 0 0 0 OA ルサージュの初期作品にみるアルルカンの表象
- 著者
- 奥 香織
- 出版者
- 西洋比較演劇研究会
- 雑誌
- 西洋比較演劇研究 (ISSN:13472720)
- 巻号頁・発行日
- vol.14, no.2, pp.29-40, 2015-03-31 (Released:2015-04-01)
This paper aims to explain the features and uniqueness of Harlequin (Arlequin) in Lesage’s 1713 fair theater: Arlequin, roi de Serendib, performed at the fair St. Germain; Arlequin Thétis, performed at the fair St Laurent; and Arlequin invisible, performed at the fair St. Laurent. During the early eighteenth-century, performances at the fairs of Paris were very popular. The Commedia dell’arte’s characters, especially Harlequin, took center stage in these performances. When Lesage wrote these three plays, speaking parts were prohibited on stage at fairs. Under these circumstances Lesage presented silent drama in which the audience sings the words that should be said by actors. So, in three plays written in this form, the corporality is particularly emphasized, and it is Harlequin that has a particularly important role. Traditionally, the body language is one of the most important elements of this character; furthermore, in this period, Harlequin’s image, nature, and gestures are shared by the audience: common codes function during performance. By using effectively Harlequin’s well-known character and gestures, Lesage tries to create his own silent drama in a difficult and particular condition for playwrights. In Lesage’s three works, Harlequin moves around freely in a fantasy world influenced by Italian comedy performed in seventeenth-century Paris. Traditional features of this character (gluttony, greed, lust for women) are adroitly integrated into each story. In all cases, Lesage’s Harlequin concentrates on mimes each action, because he cannot say anything meaningful on stage: In this situation, the audience concentrates intensely on his mimic function. By combining the well-known commedia gestures (lazzi) and traditional plot features of Harlequin, Lesage creates his own world, which pivots on corporality. In the official theater of eighteenth-century France, Harlequin becomes more “human,” but Lesage’s works demonstrate that this character appears differently at the fair because of his use of body language. Lesage’s attempt in his early career has not been considered outstanding work when compared to form his opéra-comiques later in the century. Yet his early works are important from the perspective of the development of body language and pantomime—important features of later eighteenth-century drama. His experiment in this particular theatrical form is only temporary, yet his efforts influence later popular theater, and especially nineteenth-century theater in France. Lesage’ss Harlequin only appears at “non-official” places, but he still plays an important role in the history of French theater.
1 0 0 0 劇的バレエの構成原理の形成過程の研究
平成28年度からの課題を引き続ぎ、以下に示すような次のステップの準備をすることができた。① 18世紀におけるオペラ・コミックと劇的バレエの関連について分析する。初期のバレエ・ダクシオンには、人気のオペラ・コミックをもとにつくられたものが多いが、オペラ・コミックをバレエ化することのバレエ側のメリットとして、これまで、「音楽の言語的機能」という点が指摘されてきた。これに対して本研究では、両ジャンルが「劇構成」において共有している点を明らかにすることで、両者の関連について考察する。② オペラ・コミックはその成立過程からみてもパントマイムを重要な要素としてきたが、オペラ・コミックの台本作家のなかには、台本にト書きを書き、劇作家は台詞を書くのみならず自ら演出を行なうべきである、と考える者が現れるようになった。本研究は、オペラ・コミックのこうした動向を、ディドロの「演劇タブロー」の理論との関連から考察する。これによって、この時代に「演出」を見据えた劇作法が確立していく様相を理論と実践の両面から把握し、そのバレエへの影響を明らかにすることを目指す。③ バレエの主要概念のひとつ「アラベスク」が絵画(装飾)藝術の概念でもあることに注目することで、18世紀フランスにおける絵画と舞踊の関連性について考察する。バレエの「アラベスク」が現代のようにポーズの概念となったのは19世紀になってからであるが、舞踊藝術は、舞台美術家ベランの活動やボーシャン=フイエの舞踊記譜法を通して、17世紀より「アラベスク画/グロテスク画」の影響を受けてきたと考えられる。18世紀において舞踊の「アラベスク」の捉えられ方、またその変遷を探究することにより、この時代の絵画と舞踊の関係について新たな視点を導入する。