Playwright, Space and Place in Early Modern Performance: Shakespeare and Company
Playwright, Space and Place in Early Modern Performance: Shakespeare and Company
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剧作家、早期现代表演中的空间和场所：莎士比亚及其剧团
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发表时间：
2014
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通讯作者：
A. Searle
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作者：
A. Searle
蒂姆菲茨帕特里克，剧作家，空间和地点在早期现代性能：莎士比亚和公司（法纳姆：阿什盖特，2011年）。xiv+314页。ISBN 9 781 4094蒂姆·菲茨帕特里克（英语：Tim Fitzpatrick）认为，在早期现代舞台上，门和其他资源如何被用来表示表演中的空间关系，有一套共同的约定，这些约定可以从剧本中恢复过来。1-2）。他为自己的论点提出了一个有说服力的案例，即早期现代英国剧作家主要是为两门而不是三门舞台写作的，这是基于对幸存剧本的彻底分析，而不是试图重建从爱德华七世和斯图亚特时代开始的实际历史表演。然而，有些奇怪的是，菲茨帕特里克对安德鲁·古尔和市川真理子提出的三门模型的最有力的反对意见被隐藏在附录中;它们没有被纳入本书的主要论点。本文分三个主要部分进行论述：第一部分考察了早期现代剧作家的舞台和舞台外资源;第二部分分析了他们在舞台上创造和建立虚构的地方感的不同方式;第三部分假设剧作家将具有三重空间取向的双门舞台作为舞台管理和意义创造的一种方法--“技术工作”。通过利用可操作的空间惯例来减少演员的认知开销来促进表演（第6页）。菲茨帕特里克的叙述清晰、简洁、务实。他始终坚持戏剧家的不同能力，以设想他们的工作将被执行的阶段的要求;由于早期现代公司的剧目不断变化，对演员快速学习新部分的要求;这些公司在伦敦可用的表演空间的物理物流;以及剧本投射的虚构世界在空间上映射到剧院并借鉴演员和观众共享的戏剧传统的方式。菲茨帕特里克所选剧本样本的广泛范围，加上他对对话和舞台方向线索的仔细关注，确保这本书为该主题领域提供了比简单地建立两个案例更重要的贡献-这篇论文成为一个平台，重新思考莎士比亚和他的同时代人是如何为戏剧写作的，以及表演公司如何将这些文本翻译成性能例如，菲茨帕特里克对“对话中的空间指示”和“舞台方向中类似的空间表达”的阅读，提出了“一个广泛接受的舞台管理系统”，该系统基于两扇门的向内/向外方向，在功能和虚构层面上工作，以确保表演的顺利进行，并促进表演准备，使剧作家能够将空间信息编码到他们的文本中--用表演来写作“远见”（第.
Tim Fitzpatrick, Playwright, Space and Place in Early Modern Performance: Shakespeare and Company (Farnham: Ashgate, 2011). xiv+314pp. ISBN 9 781 4094Tim Fitzpatrick 'argues that there was a set of shared conventions about how the doors and other resources on the early modern stage were used to signify spatial relations in performance, and that these conventions are recoverable from the playtexts' (pp. 1-2). He presents a persuasive case for his thesis that early-modern English playwrights primarily wrote for a two-door, rather than a three-door, stage, based on a thorough analysis of surviving playtexts rather than any attempt to reconstruct actual historical performances from the Elizabethan and Stuart eras. Somewhat oddly, though, Fitzpatrick's most cogent objections against the three-door model proposed by Andrew Gurr and Mariko Ichikawa are articulated and buried in an appendix; they are not incorporated into the book's main argument. This argument is set out in three main sections: the first examines the onstage and offstage resources available to early-modern playwrights; the second analyses the different ways in which they created and established a fictional sense of place on stage; and the third postulates that playwrights deployed the two-door stage with its tripartite spatial orientation as a method of stage-management and meaning-making - 'technical work done...to facilitate performance by utilizing the operative spatial conventions to reduce the cognitive overheads of the actors' (p. 6).Fitzpatrick's account is lucid, concise and pragmatic. He consistently holds together the varying capacities of dramatists to envisage the requirements of the stages upon which their work would be performed; the demands placed upon actors to learn new parts rapidly due to the constantly changing repertoire of early-modern companies; the physical logistics of the performance spaces available to these companies in London; and the ways in which the fictional worlds projected by the playtexts are spatially mapped onto the theatre and draw upon traditions of playing shared by both the actors and their audiences. The broad scope of Fitzpatrick's selected sample of playtexts, combined with his careful attention to cues in dialogue and stage directions, ensures that this book offers a more significant contribution to the subject area than simply establishing the case for a two-door stage.This thesis becomes a platform for rethinking how Shakespeare and his contemporaries wrote for the theatre and the manner in which acting companies translated those texts in performance. Fitzpatrick's reading of 'spatial indications in the dialogue' and 'a similar articulation of space in the stage directions', for example, suggests 'a widely accepted system' of stage-management based on the inward/outward orientation of the two doors 'that worked at the functional as well as the fictional level to ensure the smooth running of performance and to facilitate performance preparation, enabling the playwrights to encode spatial information into their texts - to write with performance "foresight"' (p. …