Study of the influence of WW I on the French Theatre

第一次世界大战对法国剧院的影响研究

• 批准号: 21520152
• 负责人: ODANAKA Akihiro
• 金额: $ 1.33万
• 依托单位: Osaka City University
• 依托单位国家: 日本
• 项目类别: Grant-in-Aid for Scientific Research (C)
• 财政年份: 2009
• 资助国家: 日本
• 起止时间: 2009 至 2011
• 项目状态: 已结题
• 来源: https://kaken.nii.ac.jp/grant/KAKENHI-PROJECT-21520152/
• 关键词: 表象文化論; 演劇学; 第一次世界大戦; フランス演劇; 文化史; 心性; 演劇; 戦争; プロパガンダ; メロドラマ; 検閲; 女性; フランス国立図書館; 母物

My research on the French theatre during World War I, which focused on the plays written and/or represented in wartime, revealed the following points :(1) theatre could no longer serve as an appropriate media for war propaganda ; conventional theatre, in which the verbal expression played a major role, found its inability of representing the modern warfare. As a result, the post war French theatre was driven to a more avant-garde, revolutionary form, threatened by the movie that then became a powerful competitor.(2) In the war propaganda theatre, just like in the real warfare, women and children were "mobilized"; it brought in the post war theatre such motifs as strong women and predilection for childish things.(3) The peculiarity of the wartime theatre in France ; as the French theatre had traditionally respected the "parole", there appeared a particular type of verse plays in which the authors seemed to exorcise the enemy by the incantation of words, thus recovering their cultural supremacy.The above findings indicate WW I constitutes the real turning point in the development of the modern theatre because it brought a reflection both on form and object of theatrical expression. In addition, they ask us to reconsider such problems as how women and children are represented in the modern war propaganda theatre and how the modern warfare could be represented in the theatre.

我对第一次世界大战期间法国戏剧的研究，主要集中在战时创作和/或演出的戏剧，揭示了以下几点：（1）戏剧不再能够作为战争宣传的适当媒体；以语言表达为主的传统戏剧发现它无法表现现代战争。结果，在电影的威胁下，战后的法国戏剧被推向了一种更加前卫、革命的形式，而电影后来成为了强大的竞争对手。（2）在战争宣传戏剧中，就像在真实的战争中一样，妇女和儿童被“动员起来”；它给战后戏剧带来了女强人、幼稚事物的偏爱等母题。(3)法国战时戏剧的特殊性；由于法国戏剧传统上推崇“假释”，因此出现了一种特殊的诗剧类型，作者似乎通过咒语驱除敌人，从而恢复了自己的文化霸权。它是现代戏剧发展的转折点，因为它带来了对戏剧表现形式和对象的反思。此外，他们还要求我们重新考虑现代战争宣传剧场如何再现妇女儿童、如何在剧场再现现代战争等问题。