Diary in Google Translate Retrospect 1991 Paris(7)

Yesterday, I went to the Tokyo Metropolitan Art Museum to see "Courtauld Gallery Exhibition" in the cold. My focus on that day was Manet's work “Un bar aux Folies Bergère”, and I watched carefully in front of the work.

At the beginning of May 1991, my friend and I were in Folies Bergère, but we looked at the stage with a spectator seat in the background, not a bar on the front of the work. It was.


In the first half of the stage, comedians were engulfing a crowd full of laughter while exchanging gags like fast-fire guns. We couldn't understand French but were left behind by the laughter around us, but we understood that it was a pretty erotic subject from the big gestures of the performers.


And in French cancan, known for Lautrec's paintings, unlike the Japanese Takarazuka revue, which is purely a maiden's theme with the same way of dancing, that of Paris overwhelmed us with glamorousness.





昨日は寒い中を東京都美術館へ「Courtauld Gallery展」を見に行った。その日の私のお目当てはマネの作品「フォリー=ベルジェールのバー(Un bar aux Folies Bergère)」で、私は作品の前で矯めつ眇めつじっくり観察した。 

1991年5月の初めに友人と私はフォリー=ベルジェール(  Folies Bergère)に居たのだったが、作品の前面に描かれたバーではなく、後景に描かれた観客席で舞台に見入っていた。




そしてロートレックの絵で知られたフレンチカンカン( French cancan)においては、同じ踊り方でも清純な乙女らしさを主題とする日本の宝塚revueとは異なってパリのそれはグラマラスさで私たちを圧倒した。