英美戏剧选读

Drama,SelectedReadingsofEnglishactiondetermineshowtheconflictwillberesolved,Resolutionconflictisresolved;playends,Complicationstensionbuilds,Expositioncharactersandconflictareintroduced,Conflictisastruggleorclashbetweenopposingcharactersorforces.Aconflictmaydevelop.betweencharacterswhowantdifferentthingsorthesamethingbetweenacharacterandhisorhercircumstanceswithinacharacterwhoistornbycompetingdesires,expositioncomplicationdenouement,exposition(戏剧呈现):itsetstheactionintimeandplaceandmakesusacquaintedwiththecharacters;itrevealsthesituationtheyarein,initiatestheconflicttobedeveloped,anditmayintroduceforeshadowingtohintattheresolution.Allthesemustbedoneclearlyandquickly.,complication（深度推进和冲突复杂化）-developstheconflictinitiatedbytheexposition,providingtheconflictwithitsdepthandbreadth,pointofattack交锋点therisingaction上行的动作Climax（turningpoint，reversal）高潮Anticlimax突降，反高潮,denouement（resolution）,Ideallythedenouementariseslogicallyfromtheexpositionandcomplication.Followingtheclimaxeverythingheadsdownwardinfallingaction.Thingsfallintoplace,andtheplayheadstowardtheconclusion.Thenitsallover.,Character:anypersonappearinginadramaornarrative,Protagonist主角Antagonist反角Foil陪衬人物Stockcharacter/typecharacter类型化人物,Theroundedorthreedimensionalcharacterswhoareneitherwhollygoodnorwhollyevil,butwhollyhumanarecertainlythemostconvincingandrichcharacters.,Protagonist-themaincharacterinadrama.Thischaracterisusuallythemostinterestingandsympatheticandisthepersoninvolvedintheconflictdrivingtheplot.Antagonist-acharacterorforceinconflictwiththeprotagonist.Theantagonistisoftenanothercharacterbutmayalsobeanintangibleforcesuchasnatureorsociety.Thedramaticconflictcanalsotaketheformofastrugglewiththeprotagonistsowncharacter.,Foil-acharacterwho,throughdifferenceorsimilarity,bringsoutaparticularaspectofanothercharacter.Laertes,reactingtothedeathofhisfather,actsasafoilforHamlet.Stockcharacter-astereotypicalcharactertypewhosebehavior,qualities,orbeliefsconformstofamiliardramaticconventions.,Charactersmaybeportrayedin4ways.,characterisdepictedbyappearancecharacterisrevealedbyspeechcharacterisestablishedbyactioncharactermayberevealedbywhatothersayabouthim,andthewayinwhichtheyreacttohim.,Thought,Thoughtreferstothereasoningaspectofdrama,thoughtalsoconcernsaplaysthemewhichsummarizethemoralandindicatedthesymbolicmeaningoftheplayasawhole.,Diction,Thelanguageofdramamustbedynamic.DialogueinaplaymustadvancetheactionDiscourseindramamustbeclearsincethelanguagemustbeimmediatelyunderstoodbythelistener.ThedialoguemustbeinterestingdespitetheneedforsimplicityandeconomyThedictionmustbeappropriateforthecharacterandthesituationGooddialogueinaplaymustbesuitedfororalexpression,Music,Musicreferstoalloftheauditoryaspectofaplay,includingsoundeffectsandthetonalpatternofthespokenword.,Spectacle戏景,Spectaclereferstoallofthevisualaspectsofproductionscenery,lightening,costume,make-up,andthemovementoftheactor.Thecurrentacceptedattitudeisthatthevisualaspectsoftheatricalproductionisjusttoprovidethepsychologicalandphysicalenvironmentandcreatetheatmospherefortheplay.,GenresofDrama戏剧类型,TragedyComedyTragicomedyMelodramaProblemplayFarce,Atragedyisaplaythatendsunhappily.,Tragediespithumanlimitationsagainstthelargerforcesofdestiny.pitagainst:使与相斗;使与对抗,rightandwrong,justiceandinjustice,lifeanddeath,Tragedy,MostclassicGreektragediesdealwithserious,universalthemessuchas,Theprotagonistofmostclassicaltragediesisatragichero.Thishero,isnobleandinmanywaysadmirable,hasatragicflaw,apersonalfailingthatleadstoatragicend,rebelliousness,jealousy,pride,Tragedy,Intragedy,theprotagonistsuffersintenselyandperhapsdies,havingexhaustedallthepossibilitiesofhislife.Theprotagonistintragedymustbehumanandcannotbeagod.Hemustalsobeofacertainnoblestature.Today,itmeansanelementofhumangreatnessbeyondtheordinary.Theactionintragedyisseriousandimportant,andisoftenperceptionofagreatmistakehehasmade,theprotagonistisdoomed,andwewatchinaweashemovestowardsthatdoom.,Tragedy,Tragedyispositiveandoptimisticinitsviewoftheheightsthehumanbeingcanreach.,Theprotagonistmusthavewithinhimthetragicflaw,themakingofhisowndestruction.Whetheryoucallitpride,arrogance,vanityorwhatever,withinthehumanpsychemustresttheseedsofdoom.Tragedyisanassertionofthegreatnessofman.Itshowsmansabilitytorisetotheheightofhumandignityinthefaceofanopposingforcewhichhehimselfknowswillfinallydestroyhim.Tearsthatmaybeshedatthefinalcatastrophearenottearsofsadness,butofcompassion.bytheend,whentranquilityhasbeenrestored,theaudiencehasgonethroughakindofspiritualpurgation,intherealizationofhowgreatthehumanbeingcanbeuponoccasion.,Acomedyisaplaythatendshappily.Theplotusuallycentersonaromanticconflict.,boymeetsgirl,boylosesgirl,boywinsgirl,Comedy,Themaincharactersinacomedycouldbeanyone:,nobility,servants,townspeople,Comedy,Comiccomplicationsalwaysoccurbeforetheconflictisresolved.,Inmostcases,theplayendswithawedding.,Comedy,Comedy喜剧,Comedyisatermbroadlyappliedtoalight,humorousplaythatendshappily.Comedyisaplaythathasahappyending.Comedyoftenpictureslifeaccuratelyandwithshrewdinsightbutitdoesnotpictureitprofoundly.Itmightshowhowamusing,howfoolish,howillogical,peoplearebutitdoesnotgobeyondthis,andtry,astragedydoes,toexplainthingsbasicandprofoundaboutthenatureofman.Weshouldnotsaythatcomedyisinferiortotragedy.Itisadifferentgenreandeachgenrehasitsownvalueandshouldbeappreciatedforwhatitis.,TragedyVSComedy,Intragedy,weareseldomawareofthecommonplaceofeverydayliving.Comedylivesintheveryworldthattragedytranscends.Comedyisthegenreofplaysthatmakeuslaughatmansvicesandfollies.Comedyismostconcernedwithsocialman,whiletragedyismostconcernedwithphilosophicalman.Comedyconcentrates,notonmansdestiny,butonhisfollies,foiblesandvices.Frequently,comedywillexaggerateordistortthesedeviationsforgreatereffect.Yet,forallitspaintingofmansfailings,comedyisusuallyaffirmative,leavinguspleasedandgratified.,Tragicomedy悲喜剧(正剧),Atypeofdramathatcombinescertainelementsofbothtragedyandcomedy.Theplaysplottendstobeserious,leadingtoaterriblecatastrophe,untilanunexpectedturnineventsleadstoareversalofcircumstance,andthestoryendshappily.Tragicomedyoftenemploysaromantic,fast-movingplotdealingwithlove,jealousy,disguisestreachery,intrigueandsurprise,allmovingtowardamelodramaticresolution.,Melodrama情节剧,Asuspensefulplayfilledwithsituationsthatjustappealexcessivelytotheaudiencesemotion.Justicetriumphsinahappyending:thegoodcharacters(completelyvirtuous)arerewardedandthebadcharacters(thoroughlyvillainous)arepunished.Likefarce,melodramapaysalmostnoattentiontohumanvalues,butitsobjectistogiveathrillinsteadofalaugh.,ProblemPlay社会问题剧,Dramaofsocialcriticismdiscussessocial,economic,orpoliticalproblemsbymeansofaplay.Ibsen易卜生isnotablewriterofproblemplay.,Farce滑稽剧，笑剧,Whencomedyinvolvesridiculousorhilariouscomplicationswithoutregardforhumanvalues,itbecomesfarce.,Fantasy幻想剧,Aplaysometimes,butnotalways,incomicspiritinwhichtheauthorgivesfreereigntohisfantasy,allowingthingstohappenwithoutregardtoreality.,Whenyoureadaplay,rememberthatitismeanttobeperformedforanaudience.,PerformanceofaPlay,PerformanceofaPlay,TheaterartistsincludeActorsDirectorsLightingtechniciansStagecrew,Stagescanhavemanydifferentsizesandlayouts.,“Thrust”stage,SettingtheStage,Thestageextendsintotheviewingarea.,Theaudiencesurroundsthestageonthreesides.,“Intheround”stageissurroundedbyanaudienceonallsides.,SettingtheStage,Prosceniumstage舞台前部装置,SettingtheStage,Theplayingareaextendsbehindanopeningcalleda“prosceniumarch.”,Theaudiencesitsononesidelookingintotheaction.,upstage,downstage,stageleft,stageright,SettingtheStage,StagesinShakespearestimewerethruststages.,Scenedesigntransformsabarestageintotheworldoftheplay.Scenedesignconsistsof,props,sets,costumes,lighting,SettingtheStage,Astagessetmightbe,realisticanddetailed,SettingtheStage,abstractandminimal,Alightingdirectorskillfullyuseslighttochangethemoodandappearanceoftheset.,SettingtheStage,Thecostumedirectorworkswiththedirectortodesigntheactorscostumes.,Likesets,costumescanbe,detailed,minimal,SettingtheStage,Props(shortforproperties)areitemsthatthecharacterscarryorhandleonstage.,Thepersoninchargeofpropsmustmakesurethattherightpropsareavailabletotheactorsattherightmoments.,SettingtheStage,Thecharactersspeechmaytakeanyofthefollowingforms.,TheCharacters,King：Butnow，mycousinHamlet，andmysonHamletAside:Alittlemorethankin，andlessthankind!King：Howisitthatthecloudsstillhangonyou?Hamlet：Notso，mylord.Iamtoomuchithesun.梁实秋的译文如下：王：现在，我的侄子哈姆雷特，也是我的儿子，哈【旁白】：比侄子是亲些，可是还算不得儿子。王：怎么，你脸上还是罩着一层愁云？哈：不是的，陛下；我受的阳光太多了。,MarcAntonydeliversawell-knownmonologuetothepeopleofRomeinShakespearesJuliusCaesar.Youprobablyknowhowitstarts:Friends,Romans,countrymen,lendmeyourears;IcometoburyCaesar,nottopraisehim.Theevilthatmendolivesafterthem;Thegoodisoftinterredwiththeirbones:SoletitbewithCaesar.(etc.)Amonologuemightbedeliveredtoanaudiencewithinaplay,asitiswithAntonysspeech,oritmightbedelivereddirectlytotheaudiencesittinginthetheaterandwatchingtheplay.,Inaplay,acharacterdeliveringasoliloquytalkstoherselfthinkingoutloud,asitweresothattheaudiencebetterunderstandswhatishappeningtothecharacterinternally.Themostwell-knownsoliloquyintheEnglishlanguageappearsinActIII,Scene1ofHamlet:Tobe,ornottobe,thatisthequestion:WhethertisnoblerinthemindtosufferTheslingsandarrowsofoutrageousfortuneOrtotakearmsagainstaseaoftroubles,Andbyopposingendthem?(etc.),Finally,aplayneedsanaudienceto,experiencetheperformance,understandthestory,respondtothecharacters,TheAudience,Liketheplotofastory,theplotofaplayinvolvescharacterswhofaceaproblemorconflict.,Climaxpointofhighesttension;actiondetermineshowtheconflictwillberesolved,Resolutionconflictisresolved;playends,Complicationstensionbuilds,Expositioncharactersandconflictareintroduced,WhatisHamletabout?,CenturiesofdebateT.S.Eliot:“Certainlyanartisticfailure”,Itsaboutamancalledontoexactrevengeforthemurderofhisfather.Problems:Themurdererisaking.Thesourceoftheinformationisaghost.Therevengemustbehonorable.,Keycharacters,Hamlet,Claudius,Gertrude,Horatio,Laertes,Polonius,Ophelia,5Acts,1.Exposition:2.Risingaction:3.Climax:4.Fallingaction:5.Resolution:,5Acts,1.Exposition:Ghostordersrevenge2.Risingaction:Hamletactsmad3.Climax:Hamletdoesthings(putsonaplay,berateshismother,killsPolonius)4.Fallingaction:EventsconspireagainstHamletwhilehesailstoEngland5.Resolution:Hamletkillsking,dies.,DramainancientGreece,PanoramicviewofthetheatreofancientGreece,Blueprint,Masks,TheThreeMajorGreekPlaywrights,Aeschylus,Sophocles,Euripides,Aeschylus(523-456B.C.E.),WrotetheoldestGreekplaysthefatheroftragedy.“PrometheusBound被俘的普罗米修斯Persians波斯人theonlytrilogy,theOresteia.（Agamemnon,阿伽门农LibationBearers奠酒人,andEumenides报仇神Hismostnoteworthycontributiontothetheatreistheadditionofasecondactor.PriortoAeschylus,onlyoneactorhadbeenusedtoplaysmultipleroles.Whilethetwoactorsstillplayedmultipleroles,Aeschylusadditionofthesecondactorallowedfordialoguebetweencharacters.,HeisalsothoughttobethefirstoftheGreekdramatiststodirectlyinvolvethechorusintheactionoftheplay.Heisnotedforhisvividcharacterportrayalandmajesticpoetry.,Sophocles,SophoclesistheauthorofplayslikeOedipustheKingandElectraandAntigone.Hecontributedgreatlytotragicart.Headdedathirdactoranddecreasedthesizeofthechorus.SophocleshashadastrongimpactonEuropeanliterature.Someofhisplotsweretakenoverandadoptedbylaterwriters.TheAustrianpsychiatristSigmundFreudsterm“theOedipuscomplex”wasalsoderivedfromSophoclessplay.,OedipusRex俄狄浦斯王,在古希腊神话中有这么一个预言：底比斯王的新生儿（也就是俄狄浦斯），有一天将会杀死他的父亲而与他的母亲结婚。底比斯王对这个预言感到震惊万分，于是下令把婴儿丢弃在山上。但是有个牧羊人发现了他，把他送给邻国的国王当儿子。俄狄浦斯并不知道自己真正的父母是谁。长大后他做了许多英雄事迹，赢得伊俄卡斯忒女王为妻。后来国家瘟疫流行，他才知道，多年前他杀掉的一个旅行者是他的父亲，而现在和自己同床共枕的是自己的亲母亲。俄狄浦斯王羞怒不已，他弄瞎了双眼，离开底比斯，独自流浪去了。,Euripides,Euripideswasthemostuniqueofthethreegreattragedians.HewasthefirsttragediantomeldtragedywithcomicelementstocreatetragicomediesEuripideswrotemainlyaboutwomeninsuchplaysasAndromache安德洛马刻,Medea美狄亚,andTrojanWomen特洛伊妇女.HewasmoreofarealistthanAeschylusandSophocles,concernedwithconflicts.Hischaractersarelessheroic,morelikeordinarypeople.Hemaybecalledthefirstwriterof“problemplays”.HewasafriendofSocratesandtheintellectuals,butthepeoplewhoflockedtheperformancesoftenfoundhimdisturbing.,TheSurveyoftheEnglishDramaDevelopment,1.FromthebeginningtoShakespeareThetenthcentury:thechurchservice,theearliestEnglishdramaticformThefourteenthcentury:MiracleorMysteryplays(biblicalhistories)(1300-1450)奇迹剧(TheYork,TheChester,TheWakefield,TheCoventry）Moralityplay(religiousdrama)latefourteenth道德剧（Everyman）Thelatefifteenthcentury,earlysixteenthcentury:Interlude幕间幽默短剧Theendofsixteenthcentury(theperiodoftransition)Classicaldrama(comedyandtragedy)TheearliestknownEnglishcomedy,1550s,RalphRoisterDoister（byRalphRoister）GammerGurtonsNeedle,(byWilliamStevenson),1)Miracle奇迹剧orMysteryplaysAsfarasthesubjectmatteroftheseplaysisconcerned,theycanbedescribedas“Bible-histories.”TheMysteryplayswerebasedontheBibleandwereparticularlyconcernedwiththestoriesofmansCreation,FallandRedemption基督教的赎罪,TheMiraclePlaywasadramatizationoftheLegendofsomesaintormartyrandpresentedeithermiraclesperformedbythesaintorhisrelicsorimage,orthesufferingsanddeathofthemartyr.Theseplayswereperformedonpageants（露天演出；盛大的游行）,thatis,alargetimberstructuresonfourwheelsthatcouldbedrawnthroughthestreetsfromoneplacetoanother,sothatthespectatorsgatheredatacertainpointinthetownhadachanceofseeingmanydifferentplaysduringthecourseoftheday.,Eg:TheYork;TheChester,TheWakefield;TheCoventry.,2)TheMoralityplaywhichappearstodatefromthelatefourteenthcentury.Inthisform,thecharactersareforthemostpartpersonifiedvirtuesandvicesandtheyareshowncharacteristicallyascompetingforthesouloftheman,variouslyreferredtoasMankind,Humanity,Everyman.Thereisadramaticaction:astrugglebetweenirreconcilablecontestants,ahumansoulwaveringinthebalance,achoicetobemadebetweentwolinesofconduct,aclimaxtobereachedwhenthedecisionisfinallytaken.,Eg:Eg:Everyman凡人,3)Interlude插剧inthelatefifteenthandearlysixteenthcenturies,anotherformofdramaticentertainmentwasproduced.ItwasadevelopmentoftheMoralityplay,inwhichthemattertreatedwasofintellectualratherthanmoralinterest,reflectingthenewstirringofthoughtamongtheEnglishhumanistsoftheRenaissance.Interludewasatermoriginallyappliedtoadialogue,andlatertoaplaybriefenoughtobepresentedintheintervalsofabanquetorotherentertainment.,TheinterludesaffordacuriousillustrationofthegrowingintellectualcuriosityoftheRenaissance,aswellasthepopulardevotiontothedramaticform,2.Shakespeareandhiscontemporaries,thelasttwodecadesofthesixteenthcenturyChristopherMarlowe(Elizabethantragedy)ThomasKyd(Elizabethantragedy)JohnLyly(Elizabethancomedy)RobertGreene(Elizabethancomedy)WilliamShakespearethefirstdecadeoftheseventeenthcenturyBenJohnson,3.RestorationandtheEighteenthcentury,SomeobviouschangesDrydenComedyofmanners风尚喜剧CongreveSeveraltheatricaldevelopmentsineighteenthcenturyPseudo-classictragedySentimentalismDomesticdramaTherevivalofcomedyRichardSheridan,GeneralSurveyoftheEnglishDramatists,ChristopherMarlowe（克里斯托弗马洛）（DoctorFaustus浮士德）WilliamShakespeareOscarWilde(奥斯卡王尔德)（TheImportanceofBeingEarnest不可儿戏）BernardShaw（萧伯纳）（Pygmalion卖花女）EugeneONeill（尤金奥尼尔）（DesireUndertheElms榆树下的欲望）,TheDevelopmentofEnglishDramas,Partone:Britishdrama1)FromthebeginningtoShakespeare2)WilliamShakespeareandhiscontemporaries:ChristopherMarlowe3)Restoration(thereturnofCharlesIItobecomeKingofEnglandin1660,andperiodafterwards王政复辟)andtheEighteenthCentury：RichardBrinsleySheridan理查德布林斯利夏里丹,4)Thenineteenthcentury:OscarWilde5)Thetwentiethcentury:BernardShawParttwo:Americandrama1)1916:EugeneONeill2)1940s:ArthurMillerDeathofaSalesman,HowtoEnjoyDrama,Dramaasaliteraryart:Tohelptheaudienceunderstandthemeaningoftheplay,thedramatisthastorelyonmanydevices:storytellingThecharactersbecomestory-tellersintheirdialogues.Themostobviousstorytellingoccursatthebeginningofaplay,calledexposition展示部分,wherethebackground,orpre-playaction,isbeingbuiltupandthemoodoftheplayisbeingset.,Retrospection回顾anothernarrativedeviceoftenusedbydramatistsinbuildingupthebackgroundofaplay.Veryoftencharacterslookbackandrecalltheeventsthatoccurredbeforethetimeofthebeginningoftheplay.Choriccommentator合唱评论likeanarratorofastorywhosometimescommentsoneventsandcharacters,dramatistsemploychoriccommentatorintheirplays.,ThechosenlinesofRomeoandJuliet,Agloomingpeacethismorningwithitbrings.Thesunforsorrowwillnotshowhishead.Gohence,tohavemoretalkofthesesadthings;Someshallbepardoned,andsomepunished;ForneverwasastoryofmorewoeThanthisofJulietandherRomeo(V.iii.350-10),Soliloquythedramatistisexpectedtorevealtohisaudiencetheinnermostthoughtsofhischaracters.Hereheemploysthetechniquesofpoetry,usingwordsofacharacterwhenhetalksorthinkstohimself,knownassoliloquy.,Themostremarkablesoliloquyiscertainlythe“Tobe,ornottobe”soliloquyutteredbyPrinceHamletinActIII,sceneiofShakespearesHamlet,inwhichtheyoungprincemeditatesuponsuicide,reckonsontheillsoflifeandconcludesthatmanbearstheburdenoflifeonlybecauseoffearsofthelifetocome.Thisfamousspeechperformstwocustomaryfunctionsofasoliloquy:togiveexpressiontoacomplicatedstateofmindandfeelingofacharacterandtoprovideapointofviewontheeventsoftheplay.,Conclusion:Likeanessay,aplayveryofteniswrittenforthepurposeofpersuasion.Theplot,charactersandtheirdialoguesmaybeusedtoillustrateideas,topersuadetheaudienceintotakingsidewiththedramatistinadebateoftwoconflictingopinions,andinevitablytoinfluencetheideasoftheaudience.,PrinceHamletcommentsonthepurposeofdramainActIII,sceneiiofShakespearesHamletbysaying:thepurposeofplaying,whoseendbothatthefirstandnow,wasandis,toholdastwerethemirroruptonature,toshowvirtueherownfeature,scornherownimage,andtheveryageandbodyofthetimehisformandpersuasion.,TheaimofpraisingthevirtuesandscorningthevicesoftheagemighthavebeenquiteobviousbeforeandinShakespearestime,buttodaythepurposeofpersuasionstillremainsconsciouslyorsemi-consciouslyinthemindofthedramatists.Althoughmoderndramaisveryoftenregardedasambiguous,thereexistsaratherclearmessage,:thelossofvaluesystemsintheformerandthecondemnationofviolenceinthelatter.,DramaasPerformingArt,Dramaisprimarilywrittenforthetheatre,Actorsanddirectors