細說莎士比亞論文集: a collection of essays國立臺灣大學出版中心, 1 de jan. de 2004 - 470 páginas 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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Página 44
... 以及他那班人看戲只是為了「做夢打發時間」( 1.1.8 ) ;對這種人來說,一場仲夏夜之夢跟其它任何遊戲一樣,都可以達到目的。對有心傳達某些訊息的嚴肅編劇者來說,這種夢境裏可能只會產生夢魘。 註釋 1 出自本劇的引文,都根據 44 ◎細說莎士比亞:論文集.
... 以及他那班人看戲只是為了「做夢打發時間」( 1.1.8 ) ;對這種人來說,一場仲夏夜之夢跟其它任何遊戲一樣,都可以達到目的。對有心傳達某些訊息的嚴肅編劇者來說,這種夢境裏可能只會產生夢魘。 註釋 1 出自本劇的引文,都根據 44 ◎細說莎士比亞:論文集.
Página 45
... 以及某些相關問題,可參閱 Alvin B. Kernan ,特別是第三、第四及第七章。 3 David Young 對本戲的「戲」有過專書深入討論,筆者深受啟發。 4 在這裹,我採用戲中戲最廣的定義,因此包括的不僅《皮拉木和賽施碧》這種明顯的戲;只要是刻意安排角色做戲劇接觸,並 ...
... 以及某些相關問題,可參閱 Alvin B. Kernan ,特別是第三、第四及第七章。 3 David Young 對本戲的「戲」有過專書深入討論,筆者深受啟發。 4 在這裹,我採用戲中戲最廣的定義,因此包括的不僅《皮拉木和賽施碧》這種明顯的戲;只要是刻意安排角色做戲劇接觸,並 ...
Página 46
... 若是迴護編劇者困思,就是責備演員困思——以及其他演員。 7 「《仲夏夜之夢》原為某一婚禮而作——這一假設強而有力,只差沒直接的證據來確立」( Brooks , 1xxxix )。另參見 Muir 77 。 引用書目• Brooks , Harold F. , ed . 46 ◎細說莎士比亞:論文集.
... 若是迴護編劇者困思,就是責備演員困思——以及其他演員。 7 「《仲夏夜之夢》原為某一婚禮而作——這一假設強而有力,只差沒直接的證據來確立」( Brooks , 1xxxix )。另參見 Muir 77 。 引用書目• Brooks , Harold F. , ed . 46 ◎細說莎士比亞:論文集.
Página 50
... 以及表演藝術的關聯。劇中兩位主角——李察( Richard )和鮑林伯( Bolingbroke )都是清楚自己在做什麼、且知權衡輕重的演員。Graham Holderness 說得好:「批評界有個老生常談,說李察不僅僅是一個舞台上的悲劇角色,還是個『悲劇演員』.........清楚自己正在 ...
... 以及表演藝術的關聯。劇中兩位主角——李察( Richard )和鮑林伯( Bolingbroke )都是清楚自己在做什麼、且知權衡輕重的演員。Graham Holderness 說得好:「批評界有個老生常談,說李察不僅僅是一個舞台上的悲劇角色,還是個『悲劇演員』.........清楚自己正在 ...
Página 52
... 以及鮑林伯做的結語: “ March sadly after , grace my mournings here / In weeping after this untimely bier . ”便是明證。 J. H. Walter 指出,「剛特代表的是注重軍功顯赫與騎士傳統的上一個世代。該世代和李察治期之間的對比,是一個兼具深度與廣度的 ...
... 以及鮑林伯做的結語: “ March sadly after , grace my mournings here / In weeping after this untimely bier . ”便是明證。 J. H. Walter 指出,「剛特代表的是注重軍功顯赫與騎士傳統的上一個世代。該世代和李察治期之間的對比,是一個兼具深度與廣度的 ...
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Página 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.
Página 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?
Página 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.
Página 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.
Página 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.
Página 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...
Página 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.
Página 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?