Search Results 1-20 of 28

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  • The Musical Mutates to Survive: The Performance History of <i>Marie Antoinette </i>and its Adaptation  [in Japanese]

    TANAKA Rina

    … Before the return to Japan in 2018, this work about the French Revolution was performed in Germany, South Korea, and Hungary.</p><p><i>Marie Antoinette</i> … Rather, this musical continued to be dedicated to the specific context of popular theater in each performing venue, as seen in the growing trade of musicals between Continental Europe and East Asia in the last few decades. …

    THEATRE STUDIES Journal of Japanese society for Theatre Research 71(0), 1-26, 2020

    J-STAGE 

  • A Study for the Relation between Louis DELLUC's Literary Works and His Films  [in Japanese]

    KOMAI Masaki

    <p>フランスでは 1908 年にフィルム・ダール社が映画の製作を開始して以降、映画の芸術化を標榜してきた。しかしながら、ルイ・ドゥリュック等がアメリカやスウェーデン映画と比べ自国映画の後進性を映画批評において指摘した時、何が欠けていると考えたのだろうか。ドゥリュックが自ら監督をした時に、どのような要素を、フランス映画に導入しようと考えたのかということを、ここではドゥリュックの戯曲や、 …

    eizogaku 102(0), 155-173, 2019

    J-STAGE 

  • The Poetics of a Dual Fictional World : Pellegrin and Rameau's Hippolyte et Aricie (1733)  [in Japanese]

    馬場 朗

    … The purpose of this study is to reveal how a masterpiece of French Baroque opera suggests in itself the origin of this new style of theater in particular by virtue of the elaborate coexistence of different theatrical genres in its structure. …

    東京女子大学比較文化研究所紀要 80, 15-32, 2019

    IR 

  • About the use of the personal pronoun "on" in the lines of Elmire in the Tartuffe of Moliere  [in Japanese]

    日比野 雅彦

    モリエールの作品に限らず、17 世紀フランス演劇において女性の役割はあまり大きくない。モリエールの作品では『女房学校』のアニェス、『人間嫌い』のセリメーヌがいるが、筋の展開には大きな役割を果たしていない。しかし、『タルチュフ』のエルミールは、劇全体としては表に出ることはないが、自身が偽善者タルチュフのおとりになり、主人公の偽善を暴き出す。この場面での彼女の台詞にはフランス語に特徴的な人称代名詞「o …

    人間と環境 = Journal of human environmental studies (8), 1-17, 2017-12

    IR 

  • About the use of the personal pronoun "on" in the lines of Elmire in the Tartuffe of Moliere  [in Japanese]

    HIBINO Masahiko

    モリエールの作品に限らず、17 世紀フランス演劇において女性の役割はあまり大きくない。モリエールの作品では『女房学校』のアニェス、『人間嫌い』のセリメーヌがいるが、筋の展開には大きな役割を果たしていない。しかし、『タルチュフ』のエルミールは、劇全体としては表に出ることはないが、自身が偽善者タルチュフのおとりになり、主人公の偽善を暴き出す。この場面での彼女の台詞にはフランス語に特徴的な人称代名詞「o …

    Journal of Human Environmental studies 8(0), 1-17, 2017

    J-STAGE 

  • Harlequin in Lesage's Early Works  [in Japanese]

    OKU Kaori

    … 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; … 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,” …

    Comparative Theatre Review 14(2), 29-40, 2014

    J-STAGE 

  • Performances of French Tragedie Lyrique at the Sheremetev Serf Theater (1775-1797) : How Renaud by Sacchini was Performed in the Russian Language  [in Japanese]

    森本 頼子

    … The Sheremetev Serf Theater (1775-1797), managed mainly by Count Nikolai Petrovich Sheremetev (1751-1809), was the only Russian theater that imported and performed the French operatic genre tragédie lyrique. … This genre was never staged in any other Russian theater (not even the court theater). …

    藝術研究 (27), 33-48, 2014

    IR 

  • Challenges of Performing Tragedie Lyrique at the Sheremetev Serf Theater (1775-1797) : Based upon the Correspondence between Count Nikolai Petrovich Sheremetev and Monsieur Hivart (a Musician of the Paris Opera)  [in Japanese]

    MORIMOTO Yoriko

    … The Sheremetev Serf Theater (1775-1797), managed mainly by Count Nikolai Petrovich Sheremetev (1751-1809), was one of the few theaters that imported and performed the French genre tragedie lyrique, which was never staged in any other Russian theaters (not even the court theater). …

    ONGAKUGAKU: Journal of the Musicological Society of Japan 60(1), 78-91, 2014

    J-STAGE 

  • Marivaux and the Théâtre-Italien:Acting as a Source of Theatrical Creation  [in Japanese]

    OKU Kaori

    … Directed by Luigi Liccoboni, Italian actors began to work with French playwrights despite the problem of language. … (1744), performed by French actors, shows that the influence of Italian actors had deeply penetrated Marivaux’s dramaturgy even when he wrote for French actors. … Thus, although the acting style of Italians was not the mainstream style in eighteenth-century France, it played an important role in the history of French theater. …

    Comparative Theatre Review 12(2), 187-198, 2013

    J-STAGE 

  • “The People’s Theatre” of Jean Giraudoux  [in Japanese]

    TANOKUCHI Seigo

    … of Jean Giraudoux, a French playwright who wrote in the 1930s, by reading his essays on the theater. … that were presented under the French Third Republic, Giraudoux’s theory was very particuliar. … Giraudoux made his debut in the theater in 1928 when his novel <i>Siegfried</i> … Parallel to his playwriting, Giraudoux also wrote several essays about the theater. …

    Comparative Theatre Review 12(2), 162-173, 2013

    J-STAGE 

  • 5119 On architectural plans of the French theater complex <<la maison de la culture de Grenoble>>  [in Japanese]

    Morita Takao

    Summaries of technical papers of annual meeting (2012), 279-280, 2012-09-12

    AIJ 

  • The dawn of Les Ballets des Champs-Elysees : Les Forains, Le Rendez-vous (1945)  [in Japanese]

    深澤 南土実

    … The audience, consisting largely of the postwar French people, were attracted by those performances which expressed hardships, a sense of stagnation, social anxiety, solitude, love and death during the war. … Enthused by Les Forains and taking notice of the popularity of Soirées, the manager of Théâtre des Champs-Élysées encouraged Petit and Kochno to organize a ballet company attached to the theater. …

    人間文化創成科学論叢 15, 123-132, 2012

    IR 

  • Roland Petit's Le jeune homme et la mort (1946) : Representation of 'real' young man  [in Japanese]

    深澤 南土実

    … Therefore, it was called 'new ballet' in the post-war French dance. … In conclusion, the essence of this work lies in: 'real' young man appears in ballet theater. …

    人間文化創成科学論叢 14(-), 117-125, 2011

    IR 

  • The correspondence between Nikolai Petrovich Sheremetev and Hivart : A Japanese translation and commentary  [in Japanese]

    森本(鳥山) 頼子 [訳]

    愛知県立芸術大学紀要 = The bulletin of Aichi University of the Arts (41), 209-221, 2011

    IR  DOI 

  • War and melodrama: woman's figure in the French theater during the First World War  [in Japanese]

    Odanaka akihiro

    第一次大戦中のフランスの戦時下演劇の特徴は、きわめてメロドラマ的だったことである。それは善悪に関するマニ教的な二元論に基づき、愛国心に結びついた単純で大げさな感情を強調するものであった。こうした演劇では、女性の登場人物も戦場での「正義の戦士」を励ます「美しい魂」として「動員」された。しかしながら戦争が長期化して深刻の度を増すにつれて、戦時下演劇のメロドラマ的構造が、プロパガンダとしては役に立たない …

    Studies in the humanities 62, 25-44, 2011

    IR 

  • Penser le temps avec Deleuze et Sankai Juku

    DELMAS Sonia

    … It expresses, through theater, the circle of birth, life and death.Gilles Deleuze (1925-1995) is a French philosopher whose interpretations of philosophical tradition and original thought influenced not only French students and readers, but also Japanese. …

    International Japanese studies (7), 87-119[含 日本語文要旨, 英語文要旨], 2009-10

    IR  DOI 

  • Education, history and total art work: theater and festivalin French romanticism  [in Japanese]

    熊谷 謙介

    Interdisciplinary cultural studies (12), 197-213, 2007

  • Extant volumes of Ken'eiro gaso in the possession of the College de France  [in Japanese]

    Nishino Haruo

    … Materials in the anthology related to the nō theater and other performing arts include: nō costumes (depictions from front and side; … As Nagasaki noted in his initial article, the Kreitmann volumes were obtained by Pierre Kreitmann's grandfather, Louis Kreitmann (1851-1914), when he was dispatched as an instructor to the Japan Military Academy by the French Government in 1876-78. …

    International Japan Studies (3), 93-101, 2005-03

    IR  DOI 

  • L'actualite du theatre francais, numero 1  [in Japanese]

    SAKAMAKI Koji

    … This article focuses on current French theater, based on pieces we were able to see in the 2001-2002 season. … In any case, it is important to view the pieces first-hand in order to understand current French theater, which changes from day to day. …

    Journal of Osaka Sangyo University Humanities (115), 41-53, 2005

    IR 

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