著者

譲原 晶子

出版者

日本演劇学会

雑誌

演劇学論集 日本演劇学会紀要 (ISSN:13482815)

巻号頁・発行日

vol.55, pp.1-19, 2012

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<p>The "ballet d'action", meaning the "ballet with a narrative or a story", was a genre of ballet that emerged in the 18th century. This genre originally sought for becoming a "drama". Although it later underwent such a change that it became, by the age of the Romanticism, a sort of spectacle, and although its narratives then came to be seen merely as pretexts or "texts as excuse" for the spectacle, what had been achieved in the earlier stage of the development of "ballet d'action" seems to have had significant influence on dramatic dances which flourished in the twentieth century. So I question, in this paper, how and in which way the early "ballet d'action" was able to construct itself as a kind of "mute drama", without ignoring, of course, also the spectacular aspect of it.</p><p>I first examine articles of performance reviews at that time to find pertinent successful pieces and then analyze the scenarios. As a result, the following observations are possible. Main characters of "ballet d'action" are often getting absorbed in something: a device that creates such situations where they can remain totally mute. For instance, they are getting absorbed in a game of love (as is seen in many pieces) or artistic creation (as in <i>Pygmalion</i> or <i>Apelles et Campaspe</i>), or getting self-absorbed as in <i>Dansomanie</i> or <i>Somnambule</i>. At the same time, certain inner conflicts of the characters undoubtedly accompany these absorptions. Further, those actions of being absorbed in something are often superposed on swiftly changing, spectacular "tableaus" on the stage. Consequently, the main characters' inner conflicts can stand out in contrast to the balletic background.</p>

著者

譲原 晶子

出版者

日本演劇学会

雑誌

演劇学論集 日本演劇学会紀要 (ISSN:13482815)

巻号頁・発行日

vol.55, pp.1-19, 2012

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<p>The "ballet d'action", meaning the "ballet with a narrative or a story", was a genre of ballet that emerged in the 18th century. This genre originally sought for becoming a "drama". Although it later underwent such a change that it became, by the age of the Romanticism, a sort of spectacle, and although its narratives then came to be seen merely as pretexts or "texts as excuse" for the spectacle, what had been achieved in the earlier stage of the development of "ballet d'action" seems to have had significant influence on dramatic dances which flourished in the twentieth century. So I question, in this paper, how and in which way the early "ballet d'action" was able to construct itself as a kind of "mute drama", without ignoring, of course, also the spectacular aspect of it.</p><p>I first examine articles of performance reviews at that time to find pertinent successful pieces and then analyze the scenarios. As a result, the following observations are possible. Main characters of "ballet d'action" are often getting absorbed in something: a device that creates such situations where they can remain totally mute. For instance, they are getting absorbed in a game of love (as is seen in many pieces) or artistic creation (as in <i>Pygmalion</i> or <i>Apelles et Campaspe</i>), or getting self-absorbed as in <i>Dansomanie</i> or <i>Somnambule</i>. At the same time, certain inner conflicts of the characters undoubtedly accompany these absorptions. Further, those actions of being absorbed in something are often superposed on swiftly changing, spectacular "tableaus" on the stage. Consequently, the main characters' inner conflicts can stand out in contrast to the balletic background.</p>

著者

譲原 晶子 ユズリハラ アキコ Akiko YUZURIHARA

雑誌

千葉商大紀要

巻号頁・発行日

vol.48, no.2, pp.45-63, 2011-03

著者

譲原 晶子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.69, no.1, 2018

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The arabesque, a figure symbolic of ballet, was first defined as body attitude by Italianballet master Calro Blasis. Falcone discusses a strong influence on Blasis' theoryfrom artists who took inspiration from the frescoes of Herculaneum excavated in themiddle of 18th century, when the concept 'arabesque' was introduced into dance. Thisessay revisits the prehistory of arabesque from a different perspective than Falcone's,focusing the close relation of the decorative art to dance from the 17th century,especially its relation to mascarade and dance notation. With this view, I study texts,in which 'arabesque' is referred to, by leading 18-century choreographers Noverre,Dauberval and Pierre Gardel and examine their different interpretations of the term,taking into account the fact that 'arabesque' was a synonym of 'grotesque' at that time.I also delve into the functions of the constructional elements, lines and figures, ofarabesque in the decorative art and how their counterparts of arabesque in ballet work.Finally, regarding arabesque in ballet as a kind of device for transforming the body froma present figure into another, I argue that Blasis' arabesque could first emerge when thedancing body was to be made through technique, not through disguise.

著者

譲原 晶子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.69, no.1, pp.121, 2018 (Released:2019-06-01)

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The arabesque, a figure symbolic of ballet, was first defined as body attitude by Italian ballet master Calro Blasis. Falcone discusses a strong influence on Blasis’ theory from artists who took inspiration from the frescoes of Herculaneum excavated in the middle of 18th century, when the concept ‘arabesque’ was introduced into dance. This essay revisits the prehistory of arabesque from a different perspective than Falcone’s, focusing the close relation of the decorative art to dance from the 17th century, especially its relation to mascarade and dance notation. With this view, I study texts, in which ‘arabesque’ is referred to, by leading 18-century choreographers Noverre, Dauberval and Pierre Gardel and examine their different interpretations of the term, taking into account the fact that ‘arabesque’ was a synonym of ‘grotesque’ at that time. I also delve into the functions of the constructional elements, lines and figures, of arabesque in the decorative art and how their counterparts of arabesque in ballet work. Finally, regarding arabesque in ballet as a kind of device for transforming the body from a present figure into another, I argue that Blasis’ arabesque could first emerge when the dancing body was to be made through technique, not through disguise.

著者

譲原 晶子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.67, no.1, pp.97, 2016 (Released:2017-07-18)

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Jean-George Noverre, a godfather of action ballet, describes his earlier pieces with the discussion of ballet poetics in his book. Though action ballet is sometimes called “dramatic ballet,” his pieces don’t seem necessarily dramatic, judging from their synopses. This article puts Noverre’s theory and practice of ballet in perspective of those of ballet genres before the time of action ballet, namely, ballet de cour, opera- ballet and etc., and discusses in what meaning his pieces were “dramatic”. The seventeenth-century ballet theorists, Ménéstrier among others, remark that the ballet should be a mute comedy; it should be composed of diverse elements. To associate all the elements with the subject of work, Ménéstrier, who emphasized the diversity of ballet, advocated the rule of unité de dessein for his ballet poetics, abandoning the dramatic rule of unité de action -- these two unités are by their natures incompatible with each other. This article shows that the significance of the diversity in ballet poetics had been virtually diminished by the time of Cahusac, who emphasized rather dramatic aspects of ballet and suggested the idea of grande action, and that Noverre tried to realize this idea by adapting plots of opera-ballet with poor intrigue.

著者

譲原 晶子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.65, no.1, pp.121-132, 2014-06-30 (Released:2017-05-22)

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Des ballets anciens et modernes selon les regies du theatre (1682) by Claude-Francois Menestrier is known as one of the most important theoretical books on ballet. Being referred to by Cahusac who wrote the articles "Ballet" and "Danse" in Diderot's Encyclopedie, the book on ballet du cour seems to have had significant influence also on the 18th-century ballet reforms. This paper compares this book with Lettres sur la danse, et sur les ballets (1760) by Jean-George Noverre, showing that Noverre also wrote his Lettres on the basis of this book on ballet du cour. In the chapter 7 in Lettres, in which the rules of ballet are discussed, Noverre cites some lines from classical literature by Saint Augustine, Plutarch and Aristotle, from which Menestrier also quoted the same passages, (and actually Noverre seems to have borrowed these from Menestrier), but their arguments developed from these same classic quotes are completely different. By focusing the traits in common and difference in their arguments, this paper tries to reinterpret Noverre's statements in Lettres, revealing that this book relies on Menestrier's theory of ballet poetics.

著者

譲原 晶子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.56, no.2, pp.55-68, 2005-09-30 (Released:2017-05-22)

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The concept 'temps' as ballet terminology was born with the birth of danse classique in the 17th century, following the concept of the same term established in the music theory in the same period. The term, which denotes a unit of dance movement basically, had been re-defined repeatedly through ballet history, especially in relation to the concept 'pas'. However, in current ballet theories traditional ideas of 'temps' seem to have disappeared, and the term can be seen only in names of some ballet steps. Why did the concept emerge in the ballet, how was it understood in the different periods of the ballet history and why did it become unused? To answer these questions I, at first, traced the original idea of this term in the music. Then I examined the various definitions of 'temps' and usages of this term found in main dance books since the 17th century. Viewing over transformations of ballet steps under the influence of the concept 'temps' through ballet history, it can be noticed that, though the concept is no more used in the theory today, it remains alive practically in actual ballet movements.

著者

譲原 晶子 奥 香織

出版者

千葉商科大学

雑誌

基盤研究(C)

巻号頁・発行日

2014-04-01

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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。

著者

譲原 晶子

出版者

千葉商科大学

雑誌

千葉商大論叢 (ISSN:03854558)

巻号頁・発行日

vol.51, no.1, pp.215-224, 2013-09

著者

譲原 晶子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.55, no.1, pp.70-83, 2004

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The step named coupe was born with the birth of danse classique in the 17^<th> century and has continued to be in the current ballet vocabulary, while it has varied its form through ballet history. Literally coupe means 'cut,' but what does 'cut' mean for the dance and why has the form changed though the name has remained identical? To answer these questions I examined the various descriptions concerning coupe found in main dance books since the 16^<th> century and tried to identify their forms and functions in each century. Viewing over different coupe existing through ballet history, it can be noticed that the most pivotal role of coupe has been to articulate dance: to segment time and to give dance clear movement patterns. In the 17^<th> century coupe was the action for 'taking in breath' in advancing steps, articulated as pattern of 'temps', while since the 20^<th> century it has played a role as a conjunction connecting steps, articulated as visual patterns of body position. As the way of articulating dance movement has changed with time - and especially between the 18^<th> and 19^<th> century - the variety of coupe has emerged in ballet history.

著者

譲原 晶子

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.56, no.2, pp.55-68, 2005-09-30

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The concept 'temps' as ballet terminology was born with the birth of danse classique in the 17th century, following the concept of the same term established in the music theory in the same period. The term, which denotes a unit of dance movement basically, had been re-defined repeatedly through ballet history, especially in relation to the concept 'pas'. However, in current ballet theories traditional ideas of 'temps' seem to have disappeared, and the term can be seen only in names of some ballet steps. Why did the concept emerge in the ballet, how was it understood in the different periods of the ballet history and why did it become unused? To answer these questions I, at first, traced the original idea of this term in the music. Then I examined the various definitions of 'temps' and usages of this term found in main dance books since the 17th century. Viewing over transformations of ballet steps under the influence of the concept 'temps' through ballet history, it can be noticed that, though the concept is no more used in the theory today, it remains alive practically in actual ballet movements.