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， |
Vyhledávání v knize
Výsledky 1-5 z 72
Strana v
... 觀眾的耐性如何了。為了舞台氣氛,在敘述過程中,主人公自我打岔,幾次問女兒是否在聽,這「與其說是針對自己女兒,不如說針對劇場裡付費的觀眾」(頁 110 )。也就是說,莎翁作為一個職業劇作家,在調度場面、敘事方式上怎樣去吸引、抓住觀眾的注意力,始終是他的 ...
... 觀眾的耐性如何了。為了舞台氣氛,在敘述過程中,主人公自我打岔,幾次問女兒是否在聽,這「與其說是針對自己女兒,不如說針對劇場裡付費的觀眾」(頁 110 )。也就是說,莎翁作為一個職業劇作家,在調度場面、敘事方式上怎樣去吸引、抓住觀眾的注意力,始終是他的 ...
Strana vi
... 觀眾厭倦;《暴風雨》中敘述家史,長 135 行,中間打斷了 17 次(其中 14 次是女兒簡短的插話)。可以想知,還在摸索、學習階段的青年劇作者還沒參透故事敘述和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 ...
... 觀眾厭倦;《暴風雨》中敘述家史,長 135 行,中間打斷了 17 次(其中 14 次是女兒簡短的插話)。可以想知,還在摸索、學習階段的青年劇作者還沒參透故事敘述和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 ...
Strana 4
... 觀眾可能對《羅密歐與茱麗葉》( Romeo and Juliet )有所批評而做的反應,證明他可以拿一齣悲劇的材料寫成一齣喜劇或鬧劇。Kenneth Muir 說過:莎士比亞之所以要困思( Peter Quince )這一票人演出這場戲中戲,目的之一「是要讓觀眾當中智慧高的知道,創作於 ...
... 觀眾可能對《羅密歐與茱麗葉》( Romeo and Juliet )有所批評而做的反應,證明他可以拿一齣悲劇的材料寫成一齣喜劇或鬧劇。Kenneth Muir 說過:莎士比亞之所以要困思( Peter Quince )這一票人演出這場戲中戲,目的之一「是要讓觀眾當中智慧高的知道,創作於 ...
Strana 5
... 觀眾看到的雙胞胎既是哥哥也是弟弟——因為根本是同一人。當舞台上的其他角色顯然認錯人時候,觀眾會覺得他們其實並沒有錯認。不僅如此, Judge 還用兩個演員飾演商人乙。這兩人除了戲服的顏色以外,外貌完全「相同」。他們同時做同樣的舉止動作,以相同的聲音 ...
... 觀眾看到的雙胞胎既是哥哥也是弟弟——因為根本是同一人。當舞台上的其他角色顯然認錯人時候,觀眾會覺得他們其實並沒有錯認。不僅如此, Judge 還用兩個演員飾演商人乙。這兩人除了戲服的顏色以外,外貌完全「相同」。他們同時做同樣的舉止動作,以相同的聲音 ...
Strana 8
... 觀眾聽的是一套,看的是另一套。歷史劇《李察二世》( Richard II )裡有一個顯著的例子:他一方面讓劇中眾多角色高喊君權神授,一方面公然上演罷黜國王的戲碼。《威尼斯商人》( The Merchant of Venice )也許更能說明這種孿生關係。這齣戲的故事多數人 ...
... 觀眾聽的是一套,看的是另一套。歷史劇《李察二世》( Richard II )裡有一個顯著的例子:他一方面讓劇中眾多角色高喊君權神授,一方面公然上演罷黜國王的戲碼。《威尼斯商人》( The Merchant of Venice )也許更能說明這種孿生關係。這齣戲的故事多數人 ...
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?