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''Chanson réaliste'', or realist song, refers to a style of music performed in France primarily from the 1880s until the end of World War II.〔Sweeney, Regina M. (2001). ''Singing Our Way to Victory: French Cultural Politics and Music During the Great War'', Wesleyan University Press. p. 23. ISBN 0-8195-6473-7.〕〔Fagot, Sylvain & Uzel, Jean-Philippe (2006). ''Énonciation artistique et socialité: actes du colloque international de Montréal des 3 et 4 mars 2005'', L'Harmattan. pp. 200-203. ISBN 2-296-00176-9. (French text)〕 Influenced by literary realism and the naturalist movements in literature and theatre, ''chanson réaliste'' dealt with the lives of Paris's poor and working-class.〔Frith, Simon (2004). ''Popular Music: Critical Concepts in Media and Cultural Studies'', Routledge. pp. 225-227. ISBN 0-415-29905-5.〕〔Schechter, Joel (2003). ''Popular Theatre: A Sourcebook'', Routledge. pp. 181-183. ISBN 0-415-25830-8〕〔Wilson, Elizabeth (1992). ''The Sphinx in the City: Urban Life, the Control of Disorder, and Women'', University of California Press. p. 62. ISBN 0-520-07864-0〕 ''Chanson réaliste'' was a musical style that was mainly performed by women;〔〔Conway, Kelly (2004). ''Chanteuse in the City: The Realist Singer in French Film''. University of California Press. p. 6. ISBN 0-520-24407-9 〕 some of the more commonly known performers of the genre include Édith Piaf and Fréhel. ==Origins and influences== ''Chanson réaliste'' grew out of the ''cafés-concerts'' and cabarets of the Montmartre district of Paris during the 1880s.〔〔 Home to such theatrical landmarks as the Moulin Rouge, and Le Chat Noir, Montmartre became a centre for hedonistic and brazen entertainment from the late 19th century to the early 20th century.〔Gendron, Bernard (2002). ''Between Montmartre and the Mudd Club: Popular Music and the Avant-garde'', University of Chicago Press. pp. 36 & 53. ISBN 0-226-28735-1.〕 Although the ''chanson réaliste'' was a musical genre dominated by female vocalists, one of its earliest performers—and credited by some as "the creator" or "the father" of genre〔〔Moore Whiting, Steven (1999). ''Satie the Bohemian: From Cabaret to Concert Hall'', Oxford University Press. p. 20. ISBN 0-19-816458-0〕〔Robb, David (2007). ''Protest Song in East and West Germany Since the 1960s'', Boydell & Brewer. p. 36. ISBN 1-57113-281-3.〕—was cabaret singer and comedian Aristide Bruant. Bruant began a career at Le Chat Noir in 1885 and his vaudeville-inspired mix of song, satire and entertainment became very popular with the bourgeoisie slumming in the poorer Montmartre district.〔〔〔Wilson, Elizabeth (2003). ''Bohemians: The Glamorous Outcasts'', Tauris Parke Paperbacks. p 224. ISBN 1-86064-782-0.〕 His compositions were also different in that they included the everyday language and slang used by the commoners.〔 Borrowing elements of the ''comédie en vaudeville'', the ''chanteuses réalistes'' (realist singers ()) often wore black dresses, red lipstick and white face makeup—their faces highlighted with stark lighting, set against a modest, almost bare backdrop—all done to draw audiences' attention to the singers' emotive facial expressions.〔 In contrast to the picturesque ''chanson'' which was popular in post-World War II France—with its songs of love, cobbled Parisian streets, and the sound of the accordion—the ''chanteuses réalistes'' sang songs of loss, hopelessness and abandonment;〔 their songs dealt with life in the poorer Parisian faubourgs, and the thugs, pimps, prostitutes, and orphans who called them home;〔〔 its themes of poverty and the criminal underworld, as well as its sociopolitical commentary, were influenced by the works of such literary realists and naturalist writers as Émile Zola, Jean Richepin and Paul Bourget.〔〔 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「Chanson réaliste」の詳細全文を読む スポンサード リンク
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