Melodramatic paradigme and chansons in twentieth-century Paris

1.本研究旨在从情绪剧的框架出发，对法国流行的几种娱乐节目--《圣歌》进行分析。2.为了阐明情绪剧的情感效果，我主要研究了《卡门》和《茶花女》，这两部剧在小说和歌剧中都有情节戏剧性的元素，并区分了爱情的六种模式，即未决定的爱、自私的爱、禁忌的爱、错合的爱、疏离的爱、错过的爱。一部典型的情节剧还具有氛围中的“异国情调”和表演中的“哑剧”等戏剧元素。为了将戏剧中的这些元素与歌词中的元素进行比较，可以清楚地看到，这两个领域的表演有很多共同之处。3.上述在情节剧中随处可见的六种爱情模式，并不高雅，但贴近大众。它们通常被认为是普世之爱的事实。从这个意义上说，分析它们是最相关的方法之一…更多的DS来解开21世纪普通大众的人文。4.Chanson经常被认为在短短三分钟内表演了《生活》，但仍然像其他艺术一样深刻地影响着我们的心灵。我认为这项研究在澄清Chanson的戏剧性特征方面非常独特。5.我与国内许多机构交换了意见和信息，为成立Chanson研究会铺平了道路，我们在那里举行了几次会议，阅读研究论文。我两次去巴黎收集有价值的资料，并对奥林匹亚剧院、国会宫殿等“大剧院”以及“小”剧院如Chat Noir、Nouveau Theatre、Mouffetard和Comedie Caumartin进行了调查。有趣的是，很明显，较小的影院正在被较大的竞争对手击败。现在很明显，现在的巴黎更喜欢一种宏大的形式，它需要一支管弦乐队，大量的观众和巨大的声音。我们希望小剧场中的圣歌复兴，自然是更合适的场所，以唤起表演者和少数观众之间的亲和力，以求艺术“真理”能被少数人充分欣赏。我相信这是唯一可行的“复兴”Chanson的方法。较少

1.This research aims at analyzing several chansons --one of popular entertainments in France --, in light of the melodramatic framework.2.In order to clarify the emotionalizing effects employed in melodrama, I mainly focused on "Carmen" and "La Traviata", recognized for its melodramatic elements both in novels and in operas, and distinguished "the six patterns of love", namely "undecided love", "selfish love", "forbidden love", "love of misalliance", "estranged love ", "missed love". A typical melodrama also features such dramatic elements as "exoticism" in atmosphere and "pantomime" in performance. To compare these elements in dramaturgy to those in chanson lyrics, it was made clear that these two fields of performances have much in common.3.The above-mentioned "the six patterns of love", ubiquitous in melodrama, are not highbrow but close to the general public. They are commonly regarded as the facts of universal love. To analyze them, in that sense, is one of the most relevant metho … More ds to unravel the humanities of the general public in the twenty-first century.4.Chanson is often said to perform "life" in as short as three minutes, but still has a deep impact on our minds like the other arts can. I consider this research very unique in clarifying the melodramatic character of chansons.5.I exchanged opinions and information with many domestic institutions to pave the way in founding the Chanson Studies Society, where we held several meetings for reading research papers. I went twice to Paris for the collection of valuable materials and for the investigation of such "grands" theatres as Olympia, Palais des Congres, and "petits" theatres like Chat Noir, Nouveau Theatre, Mouffetard and Comedie Caumartin. It was interestingly evident that the smaller theatres were being beated by their bigger rivals. It is now clear that the present Paris preferred a grand form, which needs an orchestra, a large audience and large voice. We hope the revival of chansons in "petits" theatres which are naturally more appropriate venue to evoke an affinity between performers and a small audience for the artistic "truth" can be fully appreciated by only a few. I believe that is the only feasible way to "revive" chanson. Less