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A breeches role (also pants role or trouser role, ''travesti'' or "Hosenrolle") is a role in which an actress appears in male clothing. Breeches (, also "britches"), tight-fitting knee-length pants, were the standard male garment at the time breeches roles were introduced. In opera it also refers to any male character that is sung and acted by a female singer. Most often the character is an adolescent or a very young man, sung by a mezzo-soprano or contralto.〔Budden J. Breeches part. In: ''The New Grove Dictionary of Opera.'' Macmillan, London and New York, 1997.〕 The operatic concept assumes that the character is male, and the audience accepts him as such, even knowing that the actor is not. Cross-dressing female characters (e.g., Leonore in ''Fidelio'' or Gilda in Act III of ''Rigoletto'') are not considered breeches roles. The most frequently performed breeches roles are Cherubino (''The Marriage of Figaro''), Octavian (''Der Rosenkavalier)'', Hansel (''Hansel and Gretel'') and Orpheus (''Orpheus and Euridice''), though the latter was originally written for a male singer, first a castrato and later, in the revised French version, an haute-contre. Because non-musical stage plays generally have no requirements for vocal range, they do not usually contain breeches roles in the same sense as opera. Some plays do have male roles that were written for adult female actors, and (for other practical reasons) are usually played by women (e.g., ''Peter Pan''); these could be considered modern-era breeches roles. However, in most cases, the choice of a female actor to play a male character is made at the production level; Hamlet is not a breeches role, but Sarah Bernhardt once played Hamlet ''as'' a breeches role. When a play is spoken of as "containing" a breeches role, this ''does'' mean a role where a female character pretends to be a man and uses male clothing as a disguise. == History == When the London theatres re-opened in 1660, the first professional actresses appeared on the public stage, replacing the Shakespeare era's boys in dresses. To see real women speak the risqué dialogue of Restoration comedy and show off their bodies on stage was a great novelty, and soon the even greater sensation was introduced of women wearing male clothes on stage. Out of some 375 plays produced on the London stage between 1660 and 1700, it has been calculated that 89, nearly a quarter, contained one or more roles for actresses in male clothes (see Howe). Practically every Restoration actress appeared in trousers at some time, and breeches roles would even be inserted gratuitously in revivals of older plays. Some critics, such as Jacqueline Pearson, have argued that these cross-dressing roles subvert conventional gender roles by allowing women to imitate the roistering and sexually aggressive behaviour of male Restoration rakes, but Elizabeth Howe has objected in a detailed study that the male disguise was "little more than yet another means of displaying the actress as a sexual object". The epilogue to Thomas Southerne's ''Sir Anthony Love'' (1690) suggests that it does not much matter if the play is dull, as long as the audience can glimpse the legs of the famous "breeches" actress Susanna Mountfort (also known as Susanna Verbruggen): :You'l' hear with Patience a dull Scene, to see, :In a contented lazy waggery, :The Female Mountford bare above the knee. Katharine Eisaman Maus also argues that as well as revealing the female legs and buttocks, the breeches role frequently contained a revelation scene where the character not only unpins her hair but as often reveals a breast as well. This is evidenced in the portraits of many of these actresses of the Restoration. Breeches roles remained an attraction on the British stage for centuries, but their fascination gradually declined as the difference in real-life male and female clothing became less extreme. They played a part in Victorian burlesque and are traditional for the principal boy in pantomime. 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「breeches role」の詳細全文を読む スポンサード リンク
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