Festival Play - Ennichishibai

...The evidence that classical drama was the norm in Europe can be seen, for example, in Mozart's opera seglia. In contrast, the comedy of Marivaux (who wrote cruelly sophisticated love games such as "False Confession" and "Double Change of Heart" using the "actor style" of the Commedia dell'Arte for the Italian comedy company that had settled in Paris again under the direction of L. Riccoboni), the "fair plays" of the city (the market was held for nearly two months in the monasteries of Saint-Germain and Saint-Laurent) and others were also important. Beaumarchais, who excited Paris on the eve of the Revolution with his work The Marriage of Figaro, which recaptured the dynamic comedy and dangerous sensual entertainment of fairground plays such as The Marriage of Figaro, and Diderot, who advocated the idea of ​​the bourgeois theatre (dram bourgeois) to replace the old tragedies, and who engaged in philosophical reflections on the ambiguous existence of the actor (the period in which The Paradox of the Actor was written was also the period in which the Memoirs of the tragic actress Mademoiselle Cléron was produced), were on the side of change in the 18th century. In particular, as a result of the flourishing of the city's theaters, after 1759, permanent theaters rapidly increased on the Boulevard de la Temple in the northeastern fringe of Paris, and became a venue for a variety of new and old theatrical performances, including the Opera Comique, which was a part of the city's theaters. In particular, after the Declaration of the Rights of Man of the Revolution recognized the right to open a theater for everyone (of course, this did not go exactly as planned), the theater district on the fringes of the city emerged and flourished completely free from the religious space-time of the monastery fairs and without the government subsidies of official theaters, which was a major event worthy of special mention in the history of French theater.

*Some of the terminology used in relation to "Ennichi Shibai" is explained below.

Source | Heibonsha World Encyclopedia 2nd Edition | Information

…ちなみに古典主義劇作術がヨーロッパの規範であったことの痕跡は，たとえばモーツァルトのオペラ･セーリアにうかがうことができる。それに反して，マリボーの喜劇(彼は，L.リッコボーニを団長として再びパリに定住していたイタリア喜劇団のために，そのコメディア･デラルテの〈役者体〉を使って，《偽りの告白》《二重の心変り》等の残酷なまでに洗練された恋の駆引きの遊戯を書く)，A.R.ルサージュの〈風刺歌付喜劇(ボードビル)〉をはじめとする市の〈縁日芝居〉(市はサン･ジェルマンやサン･ローランの修道院領内で2ヵ月近く開かれた)，そのような〈縁日芝居〉のダイナミックな喜劇性と危険な官能的遊戯を取り返した《フィガロの結婚》によって大革命前夜のパリを沸かせたボーマルシェ，古き悲劇に代わる〈市民劇(ドラム･ブルジョア)〉の理念を提唱し，また俳優という両義的存在について哲学的反省を展開したディドロ(《俳優についての逆説》が書かれた時代は，悲劇女優クレロン嬢の《回想録》を生む時代でもあった)，これらが18世紀の変革の側にいる。特に市の芝居の隆盛の結果として，1759年以降，パリ北東の周縁部に当たるタンプル大通りに常設小屋が急増し，市の芝居で当たっていた〈オペラ･コミック〉をはじめとする新旧さまざまな舞台表現の場となり，特に大革命の〈人権宣言〉によって劇場開設権が万人のものと認められて以来(もちろん，まったくそのとおりにいったわけではなかったが)，都市の周縁部の〈劇場街〉が，修道院の市のごとき〈宗規的時空〉からまったく自由に，かつ公式の劇場のような国庫補助も受けずに出現し隆盛を誇ったことは，フランス演劇史上の特筆すべき大事件であった。…

※「縁日芝居」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