"At Three Doores", "At Three Seuerall Doores", and "At the Middle Dore": Three Stage Directions Referring to Three Stage Doors
"At Three Doores", "At Three Seuerall Doores", and "At the Middle Dore": Three Stage Directions Referring to Three Stage Doors
复制标题
“在三扇门”、“在三扇门”和“在中间多雷”：涉及三个舞台门的三个舞台方向
DOI：
--
复制
发表时间：
2020
期刊：
影响因子：
--
通讯作者：
M. Ichikawa
中科院分区：
文献类型：
--
作者：
M. Ichikawa
戏剧历史学家普遍认为，早期现代时期的大多数伦敦商业剧场(包括室外和室内)在令人疲惫的房屋墙上有三个开口，即两扇侧门和它们之间的一块“发现空间”。然而，蒂姆·菲茨帕特里克认为，当时的伦敦剧场在疲惫的剧场正面只有两扇门，就像天鹅的素描中的那样，这两扇门中的任何一扇都可以用来“发现”，而且中间没有开口，而是一个“隐藏空间”，只有在需要的时候，才会用挂在有角度的疲惫剧场墙前的一根杆子上的窗帘来创造(34-43)。他的两门理论正在变得有影响力。在一份关于中世纪和早期现代舞台发现的综述中，珍妮特·狄龙提到了他的理论，她提醒我们有必要“记住，发现空间的存在或位置必须在不同的剧场中有所不同，这取决于舞台门的数量和剧场墙壁的角度数”(200)。莱斯利·汤姆森在她的著作《早期现代阶段的发现》的附录中谈到了这个问题：《疲惫的房子墙上有中央洞口吗？》(21341)。在评估赞成和反对中央开场的主要论点时，她同意菲茨帕特里克的论点，即没有任何不合格的证据支持在任何剧场中存在这样的固定装置。她总结道：
It is generally agreed among theatre historians that most London commercial playhouses of the early modern period (both outdoor and indoor) had three openings in the tiring-house wall, that is, two flanking doors and a “discovery space” between them. Tim Fitzpatrick, however, takes the view that the London playhouses of the time had only two doors in the tiring-house façade, as in the Swan sketch, either of which could serve for “discoveries”, and no opening in the centre but instead a “concealment space”, created, only when needed, by a curtain hung on a rod in front of the angled tiring-house wall (34-43). His two-door theory is becoming influential. In a survey of discoveries on the medieval and early modern stage, Janette Dillon mentions his theory, when she reminds us of the need “to bear in mind that the presence or positioning of a discovery-space must have varied between playhouses, depending on the number of stage doors and the number of angles of the playhouse walls” (200). Leslie Thomson addresses this issue in an appendix to her book Discoveries on the Early Modern Stage: “Was There a Central Opening in the Tiring House Wall?” (21341). In evaluating the main arguments for and against a central opening, she agrees with Fitzpatrick’s argument that there is no unqualified evidence to support the existence of such a fixture in any playhouse. She concludes: