2004 Fiscal Year Final Research Report Summary
Melodramatic paradigme and chansons in twentieth-century Paris
| Project/Area Number |
15520180
|
|---|
| Research Category |
Grant-in-Aid for Scientific Research (C)
|
| Allocation Type | Single-year Grants |
|---|
| Section | 一般 |
|---|
| Research Field |
ヨーロッパ語系文学
|
|---|
| Research Institution | Kobe University |
|---|
Principal Investigator |
MIKIHARA Hiroshi Kobe University, Faculty of Cross Cultural Studies, Professor, 国際文化学部, 教授 (70116177)
|
|---|
| Project Period (FY) |
2003 – 2004
|
| Keywords | chanson / melodrama / opera / cinema |
|---|
| Research Abstract |
1.This research aims at analyzing several chansons --one of popular entertainments in France --, in light of the melodramatic framework.
2.In order to clarify the emotionalizing effects employed in melodrama, I mainly focused on "Carmen" and "La Traviata", recognized for its melodramatic elements both in novels and in operas, and distinguished "the six patterns of love", namely "undecided love", "selfish love", "forbidden love", "love of misalliance", "estranged love ", "missed love". A typical melodrama also features such dramatic elements as "exoticism" in atmosphere and "pantomime" in performance. To compare these elements in dramaturgy to those in chanson lyrics, it was made clear that these two fields of performances have much in common.
3.The above-mentioned "the six patterns of love", ubiquitous in melodrama, are not highbrow but close to the general public. They are commonly regarded as the facts of universal love. To analyze them, in that sense, is one of the most relevant metho
… More
ds to unravel the humanities of the general public in the twenty-first century.
4.Chanson is often said to perform "life" in as short as three minutes, but still has a deep impact on our minds like the other arts can. I consider this research very unique in clarifying the melodramatic character of chansons.
5.I exchanged opinions and information with many domestic institutions to pave the way in founding the Chanson Studies Society, where we held several meetings for reading research papers. I went twice to Paris for the collection of valuable materials and for the investigation of such "grands" theatres as Olympia, Palais des Congres, and "petits" theatres like Chat Noir, Nouveau Theatre, Mouffetard and Comedie Caumartin. It was interestingly evident that the smaller theatres were being beated by their bigger rivals. It is now clear that the present Paris preferred a grand form, which needs an orchestra, a large audience and large voice. We hope the revival of chansons in "petits" theatres which are naturally more appropriate venue to evoke an affinity between performers and a small audience for the artistic "truth" can be fully appreciated by only a few. I believe that is the only feasible way to "revive" chanson. Less
|
