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The well-made play ((フランス語:la pièce bien faite), pronounced (:pjɛs bjɛ̃ fɛt)) is a dramatic genre from nineteenth-century theatre that French dramatist Eugène Scribe first codified. Dramatists Victorien Sardou, Alexandre Dumas, fils, and Emile Augier wrote within the genre, each putting a distinct spin on the style. The well-made play was a popular form of entertainment. By the mid-19th century, however, it had already entered into common use as a derogatory term.〔Banham (1998), 964, 972–3, 1191–2.〕 Henrik Ibsen and the other realistic dramatists of the later 19th century (August Strindberg, Gerhart Hauptmann, Émile Zola, Anton Chekhov) built upon its technique of careful construction and preparation of effects in the genre problem play. "Through their example", Marvin Carlson explains, "the well-made play became and still remains the traditional model of play construction."〔Carlson (1993, 216).〕 In the English language, that tradition found its early 20th-century codification in Britain in the form of William Archer's ''Play-Making: A Manual of Craftmanship'' (1912),〔Archer, William. Playmaking: a Manual of Craftsmanship. Public domain. https://www.gutenberg.org/ebooks/10865〕 and in the United States with George Pierce Baker's ''Dramatic Technique'' (1919).〔J L Styan, ''Modern Drama in Theory and Practice I'', quoted by Innes (2000, 7).〕 ==Form== The form has a strong Neoclassical flavour, involving a tight plot and a climax that takes place close to the end of the play. The well-made play retains the shape of Aristotle's ideal Greek Tragedy model outlined in Poetics (Aristotle)〔The Internet Classics Archive by Daniel C. Stevenson, Web Atomics. Web. 11 Dec. 2014. http://classics.mit.edu/Aristotle/poetics.html〕〔Aristotle. "Poetics". Trans. Ingram Bywater. The Project Gutenberg EBook. Oxford: Clarendon P, 2 May 2009. Web. 26 Oct. 2014.〕 The well-made play can be broken down into a specific set of criteria. First, the story depends upon a key piece of information kept from some characters, but known to others (and to the audience). Most of the story takes place before the action of the play begins, making the beginning of the play a late point of attack. Exposition during act one explains actions that precede the opening scene, and generates the audience's sympathy for the hero (or heroes) over their rival (or rivals). The plot moves forward in a chain of actions that use minor reversals of fortune to create suspense. The pace builds towards a climactic obligatory scene, in which the hero triumphs. This scene contains a climactic reversal of fortune, or peripeteia. A dénouement follows, in which all remaining plot points are unraveled and resolved.〔 A recurrent device that the well-made play employs is the use of letters or papers falling into unintended hands, in order to bring about plot twists and climaxes.〔 The letters bring about an unexpected and climactic reversal of fortune, in which it is often revealed that someone is not who they pretend to be. Mistaken or mysterious identity as a basis for plot complications is referred to as ''qui pro quo''.〔Holmgren, Beth. "Acting Out: Qui pro Quo in the Context of Interwar Warsaw." East European Politics & Societies (2012): 0888325412467053.〕 Eugene Scribe contributed over 300 plays and opera libretti to the dramatic literature canon. Thirty-five of these works are considered well-made-plays. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Well-made play」の詳細全文を読む スポンサード リンク
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