Shared Rhetorical Devices in Shakespeare's Dialogue

莎士比亚对话中共有的修辞手段

• 批准号: 2875678
• 金额: --
• 依托单位: University of Birmingham
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2023
• 资助国家: 英国
• 起止时间: 2023 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2875678
• 关键词: Shared; Rhetorical; Devices; Shakespeare; Dialogue

There is currently a significant gap in our understanding of Shakespeare's use of rhetoric in dialogue. This proposed project, the first intensive study of its kind, will address this by investigating Shakespeare's use of shared rhetorical devices in dialogue. Shakespeare's plays abound with rhetoricaldevices, but due to rhetoric's oratory origins, they are extensively analysed in single-voiced speeches (Joseph, 1947; Vickers, 1988), and, despite momentary engagement with dialogic rhetoric (Davis, 2003; Keller, 2009; Walker, 2017), the exciting potential of shared devices remains unexplored. My thesis and research will show dialogic rhetoric is potent with opportunities for innovative analysis and interpretation that will unlock new performance possibilities, revealing fresh ideas about relationships and emotions; motivations and intentions; actions and reactions.As well as providing a deeper understanding of Shakespeare's characterisation and aiding contemporary actors in their interpretation of the text, my research will also offer an original contribution to the understanding of Early Modern theatre practice. It draws on Tiffany Stern and Simon Palfrey's comprehensive study into actors' parts, since countless examples of dialogic rhetoric would have been visible to actors working from parts that contained only their own lines and cues. As such, my findings will add to the list of 'tools' (Palfrey and Stern, 2007) available to Early Modern actors in their preparation for a role. Furthermore, the fact that these rhetorical devices are shared between characters means that they are one of the few ways in which Early Modern actors could have discerned something about their character's relationships with others in a scene.Three research questions drive my investigation: "How do rhetorical devices in dialogue function differently from those in single speeches in Shakespeare's work?", "How can an understanding of the function of dialogic rhetoric impact on an understanding of character relationships in Shakespeare's plays?" and "What impact might such knowledge have on contemporary theatre practice?". Answering these questions is imperative as many theatre professionals are currently misinterpreting dialogic rhetoric as analogous to the single-voiced form.I will begin my research process by investigating what Shakespeare is likely to have understood about rhetoric, using Elizabethan school texts and rhetoric manuals. I will then undertake an analysis of the devices and compare the way in which Shakespeare uses them within speeches and dialogue. I will apply the findings relating to dialogic rhetoric to an exploration of character interaction and communication, before looking at the significance of these findings for actors' understandings of character emotion, status and intention. The final stage of my enquiry will include a rigorous testing of my ideas through practice research and, having pursued this, I aim to create a series of practical workshop exercises thatcan be applied by contemporary actors in the rehearsal room.I will provide original contributions of knowledge to the fields of literary analysis and theatre history. The project will impact upon contemporary theatre practice by creating innovative ways of bringing underexplored elements of Shakespeare's dialogue to life for theatre professionals, inevitably producing fresh experiences for audiences.

目前，我们对莎士比亚在对话中使用修辞的理解有很大的差距。这个拟议中的项目，第一次深入研究，将通过调查莎士比亚在对话中使用共享的修辞手段来解决这个问题。莎士比亚的戏剧中充满了修辞手段，但由于修辞的演讲起源，它们在单声演讲中得到了广泛的分析（约瑟夫，1947;维克斯，1988），尽管短暂地参与了对话修辞（戴维斯，2003;凯勒，2009;步行者，2017），共享设备的令人兴奋的潜力仍未被探索。我的论文和研究将表明对话修辞是有力的创新分析和解释的机会，将解锁新的性能可能性，揭示有关关系和情感的新想法;动机和意图;行动和反应。以及提供更深入的理解莎士比亚的特点和帮助当代演员在他们的文本解释，我的研究也将为理解早期现代戏剧实践提供原创性的贡献。它借鉴了蒂芙尼·斯特恩和西蒙·帕尔弗里对演员角色的全面研究，因为演员在只包含自己台词和线索的角色中可以看到无数对话修辞的例子。因此，我的研究结果将添加到“工具”列表（帕尔弗里和斯特恩，2007年）提供给早期现代演员在他们的角色准备。此外，这些修辞手段在角色之间共享的事实意味着，它们是早期现代演员能够在场景中辨别角色与他人关系的少数几种方式之一。三个研究问题推动了我的研究：“莎士比亚作品中对话中的修辞手段与单个演讲中的修辞手段有何不同？对对话修辞功能的理解如何影响对莎士比亚戏剧中人物关系的理解？这些知识对当代戏剧实践有何影响？".回答这些问题是必要的，因为许多戏剧专业人士目前误解了对话修辞类似于单一的voicedform.I将开始我的研究过程中，调查莎士比亚可能已经了解修辞，使用莎士比亚学校的文本和修辞手册。然后，我将对这些装置进行分析，并比较莎士比亚在演讲和对话中使用它们的方式。我将把对话修辞的研究结果应用于角色互动和沟通的探索，然后再研究这些研究结果对演员理解角色情感、地位和意图的意义。我的研究的最后阶段将包括通过实践研究对我的想法进行严格的测试，在追求这一点的同时，我的目标是创造一系列可以被当代演员在排练室应用的实践工作坊练习。我将为文学分析和戏剧史领域提供原创性的知识贡献。该项目将通过创造创新方式，为戏剧专业人士带来莎士比亚对话中未充分发掘的元素，从而影响当代戏剧实践，从而不可避免地为观众带来新鲜的体验。