細說莎士比亞論文集: a collection of essays國立臺灣大學出版中心, 2004 - Počet stran: 470 四個世紀以來對莎士比亞作品的詮釋註疏以及舞台演出， 論文集以學者犀利的目光，淵博深厚的修養，獨到的見解， |
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Strana
... 戲劇競賽:從演戲的觀點看《李察二世》(吳孟芳譯) .49 □從表演角度看《亨利四世上篇》哈樂與福斯塔的關係 ... 戲劇意義. 117 □書信作為互文:論《威尼斯商人》安東尼致巴薩紐書(張家麟譯) .137 □馴猶記:《威尼斯商人》中的第二人稱代名詞(彭安之譯) ...
... 戲劇競賽:從演戲的觀點看《李察二世》(吳孟芳譯) .49 □從表演角度看《亨利四世上篇》哈樂與福斯塔的關係 ... 戲劇意義. 117 □書信作為互文:論《威尼斯商人》安東尼致巴薩紐書(張家麟譯) .137 □馴猶記:《威尼斯商人》中的第二人稱代名詞(彭安之譯) ...
Strana
... 戲劇語言... 197 .229 243 中土莎士比亞□莎士比亞中文譯本概述:台灣篇. ....... 287 附錄:一、台灣圖書館所見莎士比亞作品中譯本書目二、喜見呂健忠新譯莎劇《馬克白》......... 295 ..... 315 三、讀卞之琳中譯《哈姆雷特》 318 四、迎接《新莎士比亞 ...
... 戲劇語言... 197 .229 243 中土莎士比亞□莎士比亞中文譯本概述:台灣篇. ....... 287 附錄:一、台灣圖書館所見莎士比亞作品中譯本書目二、喜見呂健忠新譯莎劇《馬克白》......... 295 ..... 315 三、讀卞之琳中譯《哈姆雷特》 318 四、迎接《新莎士比亞 ...
Strana i
... 戲劇與人生的對應,似乎也有特別深入的看法。本集各篇討論的本文不一,但主題都環繞著莎士比亞的語言和戲劇觀念這兩個面向,從劇場角度出發,並且以戲劇表演為主軸粗分為三類:莎士比亞說戲,戲說莎士比亞,中土莎士比亞。方法上除了參照前人的評論,也輔之以個人 ...
... 戲劇與人生的對應,似乎也有特別深入的看法。本集各篇討論的本文不一,但主題都環繞著莎士比亞的語言和戲劇觀念這兩個面向,從劇場角度出發,並且以戲劇表演為主軸粗分為三類:莎士比亞說戲,戲說莎士比亞,中土莎士比亞。方法上除了參照前人的評論,也輔之以個人 ...
Strana v
... 戲劇的「演出」,而不是缺少視覺形象的故事的「敘述」。我國傳統的戲曲小說的敘事程式,往往平鋪直敘,原原本本,從頭說起。莎劇敘事,意在一開始就吸引觀眾注意,慣於在情節進展過程中截取一個切入點,從中間說起。《暴風雨》尤其值得注意,演繹的是十多年的愛怨 ...
... 戲劇的「演出」,而不是缺少視覺形象的故事的「敘述」。我國傳統的戲曲小說的敘事程式,往往平鋪直敘,原原本本,從頭說起。莎劇敘事,意在一開始就吸引觀眾注意,慣於在情節進展過程中截取一個切入點,從中間說起。《暴風雨》尤其值得注意,演繹的是十多年的愛怨 ...
Strana vi
... 戲劇演出在劇場效果上的差異(或者還不懂得該怎樣去補救) (頁 112 )。我們豈不從一個方面,看到莎翁作為一位戲劇大師,通過二十多年的磨練和積累,在藝術道路上所經歷的一個發展過程嗎?作為大陸的讀者,我又另有一重體會。二○○三年大陸上曾颳起捧出第十七代 ...
... 戲劇演出在劇場效果上的差異(或者還不懂得該怎樣去補救) (頁 112 )。我們豈不從一個方面,看到莎翁作為一位戲劇大師,通過二十多年的磨練和積累,在藝術道路上所經歷的一個發展過程嗎?作為大陸的讀者,我又另有一重體會。二○○三年大陸上曾颳起捧出第十七代 ...
Oblíbené pasáže
Strana 255 - My liege, and madam, to expostulate What majesty should be, what duty is, Why day is day, night night, and time is time, Were nothing but to waste night, day and time. Therefore, since brevity is the soul of wit And tediousness the limbs and outward flourishes, I will be brief.
Strana 64 - O ! who can hold a fire in his hand By thinking on the frosty Caucasus? Or cloy the hungry edge of appetite By bare imagination of a feast?
Strana 19 - Our revels now are ended. These our actors, As I foretold you, were all spirits, and Are melted into air, into thin air: And, like the baseless fabric of this vision, The cloud-capp'd towers, the gorgeous palaces, The solemn temples, the great globe itself, Yea, all which it inherit, shall dissolve, And, like this insubstantial pageant faded, Leave not a rack behind. We are such stuff As dreams are made on ; and our little life Is rounded with a sleep.
Strana 169 - Though justice be thy plea, consider this, That, in the course of justice, none of us Should see salvation: we do pray for mercy; And that same prayer doth teach us all to render The deeds of mercy.
Strana 255 - Madam, I swear, I use no art at all. That he is mad, 'tis true : 'tis true, 'tis pity ; And pity 'tis, 'tis true : a foolish figure ; But farewell it, for I will use no art. Mad let us grant him then : and now remains, That we find out the cause of this effect ; Or, rather say, the cause of this defect ; For this effect, defective, comes by cause : Thus it remains, and the remainder thus.
Strana 76 - As, in a theatre, the eyes of men, After a well-graced actor leaves the stage, Are idly bent on him that enters next, Thinking his prattle to be tedious ; Even so, or with much more contempt, men's eyes Did scowl on Richard; no man cried, God save him...
Strana 18 - Be not too tame neither, but let your own discretion be your tutor. Suit the action to the word, the word to the action, with this special observance, that you o'erstep not the modesty of nature.
Strana 363 - Farewell ! thou art too dear for my possessing, And like enough thou know'st thy estimate: The charter of thy worth gives thee releasing; My bonds in thee are all determinate. For how do I hold thee but by thy granting? And for that riches where is my deserving?