Theatrical Space and Stage business of Elizabethan Theatre in the Globe

本文的研究对象是现存的英国早期现代戏剧的全部语料，并借助我近六年来所建立的舞台指示电子数据库。大英图书馆给了我机会，让我查阅了100多本旧戏剧，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。我还开始从印在剧本扉页上的木刻中收集信息。在日本，我可以通过馆际互借查阅有关文艺复兴时期小型戏剧的珍贵学术书籍。（1）舞台立柱使用的局限性：在英国流行的文艺复兴时期戏剧的许多学术版本中，和美国，编辑们倾向于充分利用舞台海报，在舞台上使用海报是允许的。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的阿拉斯的背面。需要注意的是，当一个帖子似乎非常适合间谍或窃听场景时， 关于我们 其他作品的平行场景可能需要属性树，或者有时需要一个凉亭。事实上，一个便携式木柱，而不是一个舞台上的职位，是描绘在木刻斯威特南。(2)中央开口的使用：大型家具，如宝座，床或宴会桌，通过中央开口进入舞台。尽管安德鲁·古尔和市川真理子的理论很有吸引力，但他们将中央开口解释为与和谐相关的象征性入口，这是高度假设性的，不一定正确。(3)上层舞台的使用：市川在检查了相对较少的例子后证实，在古典戏剧中，当主舞台上只说了几句话时，就发生了上升到上层舞台或从上层舞台下降的情况。其他早期现代戏剧也是如此。也许，当剧团在没有上层的场地上演出一出有上层舞台场景的戏剧时，他们不得不放弃它。短时间是没有上层的演出;当上层舞台可用时，他们可能会用音乐，即兴创作等来填补差距。

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