細說莎士比亞論文集: a collection of essays國立臺灣大學出版中心, 1. 1. 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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Výsledky 6-10 z 72
Strana 14
... 彭鏡禧. 總之,莎士比亞似乎理解到世間人與事的複雜糾葛,真相晦暗難明,因而他的作品裡慣見「孿生手法」,以「兩案(或多案)並陳」的方式,逼得觀眾自行必須判斷事實的真相。 註釋 1 本文引用莎士比亞作品都根據 David Bevington 14 ◎細說莎士比亞:論文集.
... 彭鏡禧. 總之,莎士比亞似乎理解到世間人與事的複雜糾葛,真相晦暗難明,因而他的作品裡慣見「孿生手法」,以「兩案(或多案)並陳」的方式,逼得觀眾自行必須判斷事實的真相。 註釋 1 本文引用莎士比亞作品都根據 David Bevington 14 ◎細說莎士比亞:論文集.
Strana 19
... 觀眾賠不是:盛會到此結束。我們這些演員,我說過了,都是精靈,已經溶入空氣之中,溶入稀薄的空氣:而正如這場沒有根基的幻景一樣,聳入雲霄的高樓、華麗的宮殿、莊嚴的廟宇、偉大的地球本身不錯,它所擁有的一切,都將消逝,就像這場虛渺的盛會逐漸隱沒,不著一點 ...
... 觀眾賠不是:盛會到此結束。我們這些演員,我說過了,都是精靈,已經溶入空氣之中,溶入稀薄的空氣:而正如這場沒有根基的幻景一樣,聳入雲霄的高樓、華麗的宮殿、莊嚴的廟宇、偉大的地球本身不錯,它所擁有的一切,都將消逝,就像這場虛渺的盛會逐漸隱沒,不著一點 ...
Strana 20
... 觀眾。在這個過程中,我們發現,劇本歷經一連串的更動;等到觀眾欣賞的時候,劇本幾乎是「不著一點[原作的]痕跡」了。3 二、劇本的產生我們的討論,理當從這裏開始:劇本是如何產生的?從森林走出去的兩對雅典情侶,一路敘述他們記憶不全的前一晚的經驗。但是 ...
... 觀眾。在這個過程中,我們發現,劇本歷經一連串的更動;等到觀眾欣賞的時候,劇本幾乎是「不著一點[原作的]痕跡」了。3 二、劇本的產生我們的討論,理當從這裏開始:劇本是如何產生的?從森林走出去的兩對雅典情侶,一路敘述他們記憶不全的前一晚的經驗。但是 ...
Strana 21
... bodies forth The forms of things unknown , the poet's pen Turns them to shapes , and gives to airy nothing A local habitation and a name . ( 5.1 . 12-17 ) 西秀士這段話當然深具諷刺意味。觀眾 編劇者的夢魘:戲談《仲夏夜之夢》◎ 21.
... bodies forth The forms of things unknown , the poet's pen Turns them to shapes , and gives to airy nothing A local habitation and a name . ( 5.1 . 12-17 ) 西秀士這段話當然深具諷刺意味。觀眾 編劇者的夢魘:戲談《仲夏夜之夢》◎ 21.
Strana 22
... 觀眾所見,果真能夠正好是編劇者所要表達的嗎?在原創的本子和再創的本子之間,有一段距離——有時是鴻溝。在劇場裏,這代表劇本和觀眾所接受的真正演出之間的差距。是則舞台上的一切,如西秀士所說言,只存在於詩人的想像裏。通常,劇本變質的第一步,發生在導演對 ...
... 觀眾所見,果真能夠正好是編劇者所要表達的嗎?在原創的本子和再創的本子之間,有一段距離——有時是鴻溝。在劇場裏,這代表劇本和觀眾所接受的真正演出之間的差距。是則舞台上的一切,如西秀士所說言,只存在於詩人的想像裏。通常,劇本變質的第一步,發生在導演對 ...
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?