Enik, L. - Enik

Japanese: エニック，L. - えにっく

...However, this theory on the novel, through its extreme arguments, is counted as one of the representative literary theories of naturalism in that it at least expresses and conveys the aspect of naturalism that was in keeping with the spirit of the times by sharing a faith in science that was akin to simple passion, and the scientific orientation that is the basis of this literary thought. The young naturalist writers who gathered around Zola from around the mid-1870s were called the "Medan Group" because Zola's villa, where they met, was in Medan. The five members of this group, Maupassant, JK Huysmans, H. Céard, L. Henick, and P. Alexis, published a collection of their works, "Evenings in Medan," in 1880, together with Zola, who was the leader of the group, and each brought a short story, making a strong impression on the existence of the naturalist literary school. In addition to these writers, other writers who were naturalists or close to it included A. Daudet, O. Mirbeau, and the playwright HF Beck, who were introduced to Japan early on. ...

From [Free Theater]

…The first performance of Jacques d'Amour, based on an original work by Zola, in front of a subscription-only audience at a small theater in a corner of Montmartre, Paris, drew unprecedented acclaim, and the theater quickly became the center of naturalistic theater. It then moved from the Théâtre Montparnasse to the Théâtre Menieux Plaisir and began opening to the general public, introducing playwrights such as G. de Porte-Riche (1849-1930), E. Brueu, F. de Curel (1854-1928), G. Courtrine (1858-1929), and L. Henick (1851-1935) to the world, and also achieved success with modern foreign plays such as L. Tolstoy's The Forces of Darkness, H. Ibsen's Ghosts, and G. Hauptmann's The Weaver. Its defining feature was its thoroughly realistic direction, based on the theoretical foundation of the playwright J. Julien's (1854-1919) claim to stage "fragments of real life," and using actual props instead of backdrops, and at times turning his back on the audience, imagining a "fourth wall" between the audience and the stage.

*Some of the terminology explanations that mention "Enik, L." are listed below.

Source | Heibonsha World Encyclopedia 2nd Edition | Information

Japanese:

…しかし，この小説論は，その極端な立論を通して，少なくとも，素朴な熱情にも似た科学への信仰を共有することによって時代精神に適合した自然主義の一面，この文学思想の根底にある科学主義志向を最も端的に表し伝えている点で，自然主義の代表的文学理論の一つに数えられる。　1870年代の半ばごろからゾラの周辺に集まった自然主義派の若い作家たちは，会合の場所であったゾラの別荘がメダンにあったことから〈メダンのグループ〉と呼ばれるが，これに属するモーパッサン，J.K.ユイスマンス，H.セアール，L.エニック，P.アレクシの5人は，1880年，首領格のゾラとともにおのおの1編ずつの短編を持ち寄って作品集《メダンの夕べ》を公刊し，自然主義文学派の存在を強く印象づけた。これらの作家たちのほかに，自然主義派ないしそれに近い作家としては，日本にも早くから紹介されたA.ドーデ，O.ミルボー，劇作家H.F.ベックらがいる。…

【自由劇場】より

…パリのモンマルトルの一隅の小劇場での予約会員制の観客を前にした第1回公演で，ゾラ原作の《ジャック･ダムール》が空前の評判をとり，一躍自然主義演劇の中心となった。ついで，モンパルナス座からムニュー･プレジール座に移って一般公開にも踏み切り，G.deポルト･リッシュ(1849‐1930)，E.ブリュー，F.deキュレル(1854‐1928)，G.クルトリーヌ(1858‐1929)，L.エニック(1851‐1935)などの劇作家を世に出し，L.トルストイの《闇の力》，H.イプセンの《幽霊》，G.ハウプトマンの《織工》など外国の近代劇でも成功を博した。その特徴は〈実人生の断片〉の舞台化という劇作家J.ジュリアン(1854‐1919)の主張を理論的支柱とし，書割りを排して実物の小道具を使い，観客と舞台との間に〈第四の壁〉を想定してときには観客に背を向けるという徹底した写実的演技演出にあった。…

※「エニック，L.」について言及している用語解説の一部を掲載しています。

出典｜株式会社平凡社世界大百科事典第２版について | 情報

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