Acting Space' in English Renaissance Plays

这项研究项目是基于我对伊丽莎白时代舞台空间使用的发现，可以概括为：舞台柱子后面、靠近舞台门的边缘位置，甚至是舞台布景后面的空间，有时被视为“台上”，有时被视为“台下”。换句话说，舞台作为一个整体并不总是被视为‘台上’，也不总是被视为‘台下’。目的是考虑伊丽莎白时代的‘表演空间’概念。在这方面，一个重要的问题是戏剧术语“内部”的含义。通过对早期印刷文本和幸存下来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：a)莎士比亚演员将疲惫的房子正面后面的空间用作“内部”，无论是在上层还是在主要舞台层面。b)被称为疲惫房子内的演员不一定不被观众看到。这些和其他新发现反映在我在研究期间在剑桥和埃文河畔斯特拉特福德举行的两次国际会议上提交的论文中：1.《朱丽叶从阳台上下来：罗密欧与朱丽叶》中的场景变化，3.5英尺2英寸。《马洛里奥在里面》：在台上和台下空间之间的门槛上表演。

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'