Acting Space' in English Renaissance Plays

这个研究项目是基于我的发现，对舞台空间的使用，这可以总结如下：边缘位置，如后面的舞台柱，靠近舞台门，甚至前面的场景后面的空间有时被视为“舞台上”，有时作为“舞台外”。换句话说，舞台作为一个整体并不总是被视为“舞台上”，也不总是被视为“舞台外”，其目的是考虑“表演空间”的概念。在这方面的一个重要问题是戏剧术语“在里面”的含义。通过对早期印刷文本和现存的英国文艺复兴时期戏剧手稿的研究，我得出了两个主要结论：（1）无论是在上层还是在主舞台上，文艺复兴时期的演员都把后台正面后面的空间用作“内部”。（B）被称为后台内部的演员并不一定在观众的视线之外。《朱丽叶从阳台上下来：罗密欧与朱丽叶的场景变化》，3.5'2。“内在的玛罗利奥”：在舞台和舞台外空间之间的门槛上行动“

This research project is based upon my finding about the Elizabethan use of stage space, which can be summarized as follows :Marginal positions such as behind stage posts, near the stage doors, and even the space behind the frons scenae were sometimes treated as 'onstage' and sometimes as 'offstage'. In other words, the stage as a whole was not always treated as 'onstage' nor was the space behind the tiring-house facade always treated as 'offstage'.The purpose was to consider the Elizabethan concept of 'acting space'. An important question in this regard is the meaning of the theatrical term 'within'. Through examining early printed texts and surviving manuscripts of English Renaissance plays, I have reached two major conclusions :a) Shakespearean actors used the space behind the tiring-house facade as 'within', whether at the upper level or at the main stage level.b) The actor who is referred to as within the tiring-house was not necessarily out of sight of the audience.These and other new discoveries are reflected in my papers presented at two international conferences held in Cambridge and Stratford-upon-Avon during the research period :1. 'Juliet's Descent from the Balcony : The Locale Change in Romeo and Juliet, 3.5'2. '"Maluolio within": Acting on the Threshold between Onstage and Offstage Spaces'