The Birth of Modern Theatre in Early Modern France (1630-1730)

现代戏剧在早期现代法国的诞生（1630-1730）

• 批准号: 397779942
• 负责人: Professor Dr. Jörn Steigerwald
• 金额: --
• 依托单位: Institut für Germanistik und Vergleichende Literaturwissenschaft
• 依托单位国家: 德国
• 项目类别: Research Grants
• 财政年份: 2018
• 资助国家: 德国
• 起止时间: 2017-12-31 至 2021-12-31
• 项目状态: 已结题
• 来源: https://gepris.dfg.de/gepris/projekt/397779942?language=en
• 关键词: Birth; Modern; Theatre; Early; France

The aim of this project is to elaborate the productivity of the two heuristic models of house comedy and family tragedy within the framework of the 'theatre of tenderness' between 1630 and 1730. Both, house comedy and family tragedy, are exemplarily analysed and outlined on the basis of the dramas of Corneille and Molière. Their productivity is firstly characterized by the connection of literary and current historical research on family, marriage and household, especially focussing on the transformation of the 'traditional household' from closed to open during this period, including the problematisation and following repositioning of the housefather. A second area of interest is the productivity of the two models competing with others, e.g. the tense relationship of family and marriage tragedy between Pierre Corneille and Georges de Scudéry around 1640, but also the opportunity to react reflexively on altered sociocultural conditions by means of transformation and/or internal differentiation, e.g. split of the house comedy in problematisations of economical housekeeping and family politics (Dancourt, Dufresny, Regnard; around 1700). A third aspect of the productivity is the theater's international character - on a theory formation level as well as in theatre practice - beyond the borders of intertextuality. These references are made within the scope of cultural transfers which (according to Peter Burke) form the basis of the fabrication of own cultural models. Fourthly the superposition of the deployment of alliance by the deployment of sexuality before the discursivization of sexuality from the middle of the 18th century on is examined based on family tragedy and house comedy, where research has been done only rudimentarily so far. Our hypothesis is that tenderness, 'la tendresse', forms a concept that permits to act out questions of love and sexuality without transgressing the limits of the ‘bienséance’ due to the polysemantic status of the term which allows to integrate opposite concepts like sexual seduction, divine love or paternal love. Thus, the varying stagings of this concept enable to reconstruct the historically different paradigms of tenderness, i.e. tender paternal love around 1640, tender friendship between the sexes, ideal of gallantry of the Premier Versailles or tender love between the married couple around 1700.

这个项目的目的是阐述1630年至1730年之间的“温柔剧院”框架内的家庭喜剧和家庭悲剧两种启发式模式的生产力。这两个，家庭喜剧和家庭悲剧，是典型的分析和概述的基础上，高乃依和莫里哀的戏剧。他们的生产力首先体现在对家庭、婚姻和家庭的文学研究与当代历史研究的结合上，尤其是关注这一时期“传统家庭”从封闭到开放的转变，包括问题化和随之而来的对“一家之主”的重新定位。第二个感兴趣的领域是两种模式相互竞争的生产力，例如1640年左右皮埃尔·科尔内耶和乔治·德·斯库代里之间家庭和婚姻悲剧的紧张关系，但也有机会通过转型和/或内部分化对改变的社会文化条件作出反射性反应，例如，家庭喜剧在经济家务和家庭政治问题中的分裂（Dancourt，Dufresny，Regnard; 1700年左右）。生产力的第三个方面是戏剧的国际性-在理论形成层面以及戏剧实践中-超越了互文性的边界。这些参考是在文化转移的范围内进行的，（根据彼得·伯克的说法）这些文化转移构成了自己文化模式的基础。第四，以家庭悲剧和家庭喜剧为例，考察了世纪中期以来性的话语化之前的性的部署与联盟的部署的叠加。我们的假设是，温柔，“la tendress”，形成了一个概念，允许在不违反“bienséance”限制的情况下表现出爱和性的问题，因为这个术语的多语义状态允许整合相反的概念，如性诱惑，神圣的爱或父爱。因此，这一概念的不同阶段能够重建历史上不同的温柔范式，即1640年左右的温柔父爱，两性之间的温柔友谊，凡尔赛总理的勇敢理想或1700年左右的已婚夫妇之间的温柔爱情。