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Related to closet drama, a closet screenplay is a screenplay intended not to be produced/performed but instead to be read by a solitary reader or, sometimes, out loud in a small group. While any published, or simply read, screenplay might reasonably be considered a "closet screenplay," 20th- and 21st-century Japanese and Western writers have created a handful of film scripts expressly intended to be read rather than produced/performed. This class of prose fiction written in screenplay form is perhaps the most precise example of the closet screenplay. This genre is sometimes referred to using a romanized Japanese neologism: "Lesescenario (レーゼシナリオ)" or, following Hepburn’s romanization of Japanese, sometimes “Rezeshinario.” A portmanteau of the German word ''Lesedrama'' ("read drama") and the English word ''scenario,'' this term simply means "closet scenario," or, by extension, "closet screenplay."〔''Sanseido's Concise Dictionary of Katakana Words''. Tokyo, Sanseido, 1994〕 ==Critical interest== Brian Norman, an assistant professor at Idaho State University, refers to James Baldwin's ''One Day When I Was Lost'' as a "closet screenplay."〔Norman, Brian. “Reading a ‘Closet Screenplay’: Hollywood, James Baldwin’s Malcolms, and the Threat of Historical Irrelevance." African American Review 39.1-2 (Spring/Summer 2005): 10-18.()〕 The screenplay was written for a project to produce a movie, but the project suffered a setback. After that, the script was published as a literary work. Lee Jamieson's article, "The Lost Prophet of Cinema: The Film Theory of Antonin Artaud"〔Jamieson, Lee. “The Lost Prophet of Cinema: The Film Theory of Antonin Artaud" ''Senses of Cinema'' 44 (27 August 2007).()〕 discusses Artaud's three Lesescenarios (listed below) in the context of his "revolutionary film theory." And in ''French Film Theory and Criticism: 1907-1939'',〔Abel, Richard. ''French Film Theory and Criticism: 1907-1939'' (Princeton UP, 1993)〕 Richard Abel lists the following critical treatments of several of the Surrealist "published scenario texts" (36) listed in the example section below: * J.H. Matthews, ''Surrealism and Film'' (U of Michigan P, 1971), 51-76. * Steven Kovács, ''From Enchantment to Rage: The Story of Surrealist Cinema'' (Associated UP, 1980), 59-61, 157-76. * Linda Williams, ''Figures of Desire: A Theory and Analysis of Surrealist Film'' (U of Illinois P, 1981), 25-33. * Richard Abel, "Exploring the Discursive Field of the Surrealist Film Scenario Text," ''Dada/Surrealism'' 15 (1986): 58-71. Finally, in his article "Production's 'dubious advantage': Lesescenarios, closet drama, and the (screen)writer's riposte,"〔Melton, Quimby. January 2010. "Production's 'dubious advantage': Lesescenarios, closet drama, and the (screen)writer's riposte." (SCRIPTjr.nl ) 1.1. The comments section of Melton's article also has an ongoing discussion of the Lesescenario canon.() The list of examples below is based on "Production's 'dubious advantage,'" that discussion, and Melton's "Lesecenario Bibliography" at Google Docs.〔Melton, Quimby. 6 February 2011. "Lesescenario Bibliography." Google Docs. 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「Closet screenplay」の詳細全文を読む スポンサード リンク
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