权益分类	功能权益	普通用户	{{item.name}}会员
{{category.name}}	{{benefitItem.name}}

Theatrical Space and Stage business of Elizabethan Theatre in the Globe

全球伊丽莎白剧院的戏剧空间和舞台业务

基本信息

批准号：
15520173
负责人：
OTA Kojin
金额：
$ 1.79万
依托单位：
Kyoto University of Education
依托单位国家：
日本
项目类别：
Grant-in-Aid for Scientific Research (C)
财政年份：
2003
资助国家：
日本
起止时间：
2003 至 2004
项目状态：
已结题

来源：
https://kaken.nii.ac.jp/en/grant/KAKENHI-PROJECT-15520173/
关键词：
The Globe Shakespeare Elizabethan Drama stage directions central opening stage posts trap door stage business The Rose The Blackfriars original staging

项目摘要

The research was extended into the whole extant corpus of Early Modern drama of England, with the help of the electronic database of stage directions which I have compiled last six years. British Library offered me opportunities of examining over 100 copies of old drama, so that I could pick out only significant examples to discuss from the whole corpus. I also started gathering information from woodcuts printed on the title page of plays. In Japan, I was able to check rare academic books on minor Renaissance plays through inter-library loan.(1)the limitation of the use of stage posts : In many of academic editions of Renaissance plays current in the U.K. and U.S., editors tend to make the best of stage posts, where the theatrical uses of the posts are allowable. From a statistical viewpoint, the place for hiding oneself is very often the back of the arras hanging over the central opening. It is to be noted that when a post seems to be very suitable for spying or eavesdropping scenes, … More parallel scenes of other works could have required property trees, or sometimes a bower. In fact, a portable wooden post, not a stage post, is depicted in the woodcut of Swetnam.(2) the use of the central opening : Large pieces of furniture like thrones, beds, or banquet tables were carried into the stage through the central opening. Attractive as their theory is, Andrew Gurr's and Mariko Ichikawa's interpretation of the central opening as a symbolic entrance in association with harmony is highly hypothetical and not necessarily true.(3) the use of the upper stage : Examining a comparatively small number of examples, Ichikawa testified that in Shakespearean plays, an ascent to or a descent from the upper stage took place while just a few lines were spoken on the main stage,. It is the case in other early modern plays as well. Probably, when theatrical companies acted a play with an upper-stage scene in the venue having no upper level they had to dispense with it. A short span of time is for such performances without the upper floor ; when the upper stage was available, they might have filled the gap with music, improvisation, etc. Less

在我过去六年来编制的舞台指示电子数据库的帮助下，研究扩展到整个现存的英国早期现代戏剧语料库。大英图书馆为我提供了检查100多本旧戏剧的机会，这样我就可以从整个语料库中挑选出有意义的例子来讨论。我也开始从戏剧扉页上的木刻上收集信息。在日本，我通过馆际互借的方式查阅了关于文艺复兴时期小戏剧的罕见学术书籍。(1)舞台柱使用的限制：在英国和美国的许多文艺复兴时期戏剧的学术版本中，编辑倾向于充分利用舞台柱，因为舞台柱的戏剧用途是允许的。从统计学的角度来看，隐藏自己的地方往往是悬挂在中央开口上方的帷幔的后面。值得注意的是，当一个帖子看起来非常适合间谍或窃听场景时，其他作品的更多平行场景可能需要财产树，或者有时需要凉亭。事实上，在斯威特南的木刻中，描绘的是一根可移动的木柱，而不是舞台柱子。(2)中央开口的使用：像宝座、床或宴会桌这样的大件家具通过中央开口被带入舞台。尽管Andrew Gurr和Mariko Ichikawa的理论很有吸引力，但他们对中央开口作为与和谐相关的象征性入口的解释是高度假设的，不一定是正确的。(3)上层舞台的使用：通过研究相对较少的例子，市川证实，在莎士比亚的戏剧中，上层舞台的上升或下降发生在主舞台上，而只有几句台词。在其他早期现代戏剧中也是如此。也许，当戏剧公司在没有上层舞台的场地上表演一个有上层舞台场景的戏剧时，他们不得不取消它。这种表演的时间跨度很短，没有上层；当上层舞台可用时，他们可能会用音乐、即兴表演等来填补空白。少