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Fabel is a critical term and a dramaturgical technique pioneered by the twentieth-century German theatre practitioner Bertolt Brecht. ''Fabel'' should not be confused with 'fable', which is a form of short narrative (hence the retention of the original German spelling in its adoption into English usage). Elizabeth Wright argues that it is "a term of art which cannot be adequately translated".〔Wright, Elizabeth. 1989. ''Postmodern Brecht: A Re-Presentation''. Critics of the Twentieth Century Ser. London and New York: Routledge. ISBN 0-415-02330-0. p.28.〕 ==A critical term== As a critical term, ''fabel'' refers to an analysis of the plot of a play. This includes three interrelated but distinct aspects: firstly, an analysis of the events portrayed in the story. In an epic production, this analysis would focus on the social interactions between the characters and the causality of their behaviour from a historical materialist perspective; the ''fabel'' summarizes "the moral of the story not in a merely ethical sense, but also in a socio-political one".〔 For example, in relation to Brecht's play ''Man Equals Man'' (1926), Wright argues that "()he ''fabel'' of this play centres on the transformation of an individual through his insertion into a collective."〔Wright, Elizabeth. 1989. ''Postmodern Brecht: A Re-Presentation''. Critics of the Twentieth Century Ser. London and New York: Routledge. ISBN 0-415-02330-0. p.33〕 Secondly, a ''fabel'' analyzes the plot from a formal and semiotic perspective. This includes the play's dramatic structure and its formal shaping of the events portrayed. It also includes an analysis of the semiotic fabric of the play, recognizing that it "does not simply correspond to actual events in the collective life of human beings, but consists of invented happenings (that t )he stage figures are not simple representations of living persons, but invented and shaped in response to ideas."〔 Thirdly, a ''fabel'' analyzes the attitudes that the play appears to embody and articulate (in the sense of the author's, the characters' and, eventually, the company's). Brecht refers to this aspect of a play as its ''Gestus''. Analyzing a play in this way presupposes Brecht's recognition that ''every'' play encodes such attitudes; "for art to be 'unpolitical'", he argued in his "Short Organum for the Theatre" (1949), "means only to ally itself with the 'ruling' group".〔Brecht, Bertolt. 1949. "A Short Organum for the Theatre". In John Willett, ed. ''Brecht on Theatre: The Development of an Aesthetic''. London: Methuen, 1964. ISBN 0-413-38800-X. p.196.〕 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「Fabel」の詳細全文を読む スポンサード リンク
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