| Budget Amount *help |
¥4,810,000 (Direct Cost: ¥3,700,000、Indirect Cost: ¥1,110,000)
Fiscal Year 2015: ¥1,560,000 (Direct Cost: ¥1,200,000、Indirect Cost: ¥360,000)
Fiscal Year 2014: ¥1,950,000 (Direct Cost: ¥1,500,000、Indirect Cost: ¥450,000)
Fiscal Year 2013: ¥1,300,000 (Direct Cost: ¥1,000,000、Indirect Cost: ¥300,000)
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| Outline of Final Research Achievements |
The words which are talked by an actor remain in a play script, but the action which are acted by a clown and induces laugh doesn’t remain there, that is, the performance by a clown is not left as both a record and a script. However by analyzing the words which the clown tries to win laughter of audience, we can infer clown’s acting. Therefore it’s possible to classify the clown’s performance from words which trigger laughter in the argument. Classifying a clown performance in 4 comedias and 7 pasos(farces) of Lope de Rueda, the analysis stated above was applied to 8 comedias and 8 entremeses(farces) of Cervantes, who belongs to the next generation. By this analysis we can find that the theatrical function of the laugh had faded in comedies, and that a clown performance was left only in 8 farces, which were written only to win laughter. Therefore the status of the farceur in the theatre company became lower. This caused a Spanish drama as a play of words in the 17th century.
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