| Project/Area Number |
03301056
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| Research Category |
Grant-in-Aid for Co-operative Research (A)
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| Allocation Type | Single-year Grants |
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| Research Field |
仏語・仏文学
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| Research Institution | Waseda University |
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Principal Investigator |
ITO Hiroshi Waseda Univ., Faculty of Education, Professor, 教育学部, 教授 (60063591)
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| Co-Investigator(Kenkyū-buntansha) |
HASHIMOTO No Chuo Univ., Commercial Faculty, Professor, 商学部, 教授 (50119426)
TOGUCHI Tamiya Nagasaki Jun.Coll. of Foreign Language, Professor, 教授
FUJII Yasunari Osaka Municipal Univ., Fac. of Letters, Professor, 文学部, 教授 (00047169)
IMURA Junichi Tokyo Univ., Fac. of Liberal Arts, Professor, 教養学部, 教授 (00012328)
SATO Mie Waseda Univ., Fac. of Letters, Professor, 文学部, 教授 (40063531)
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| Project Period (FY) |
1991 – 1992
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| Project Status |
Completed (Fiscal Year 1992)
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| Budget Amount *help |
¥2,000,000 (Direct Cost: ¥2,000,000)
Fiscal Year 1992: ¥2,000,000 (Direct Cost: ¥2,000,000)
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| Keywords | France / Theatre / 16th, 17th, 18th centuries |
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| Research Abstract |
The main purpose of this study is the transition process of French drama from the humanism drama in the 16th century to the baroque drama, the classical drama, and the enlightenment drama in the 18th century, with the 17th century being the peak.
One of the ideas we got is that the transition from the drama of statical "elegie" to the dynamic baroque drama is very much due to the development of theater architecture, and due to the perspective method.Drama was produced not only to let us listen to a beautiful poem, but to let us view using skills with abundant spectacle.
If it goes on to long, it will be a useless story, and will drift away from "vraisemblance". Thus it changes into a deep psychological description theorized by P.Corneille. From this psychological description, a play has a great regard for "rhetorique" and all sorts of "reglements" are considered very important, more important than the spectacle itself. That is what we call classical drama. The pursuit of "vraisemblance" makes the "stance" in the 17th century disappear in the following century and changes the drama into more daily conversational things.
In this way, to round off the distinctive marks of transitive process which come into the mind, it is thought that the underlying French drama theme from the 16th century to the 18th century is that of seeking after "vraisemblance". On the purpose of it, in each era, a various "reglements" or "restrictions" are made, and on the other hand "rhetorique" is developed. From now on, deeper research and investigation is needed to establish a firm conclusion on French drama history.
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