Studies on stage representation of the postmodern poetic dramas of William Butler Yeasts

这个为期两年的研究项目从三个不同的角度探讨了威廉·巴特勒·叶芝（1865-1939）的幻想戏剧：“能”的概念，唯心论和声音象征主义。研究集中在三部诗剧：《唯一的嫉妒》（1919）、《各各他山》（1920）和《窗上的字》（1934）上，并分析了每部戏剧中象征性的舞台表现。《唯一的嫉妒》结合了爱尔兰民间传说中的“换人”主题和唯灵论，与日本能语“Aoi no Uye”有结构上的联系。在《音乐家》的片头曲中，“f”音和“b”音的交替使用暗示了两个相互冲突的世界的相互渗透，从而戏剧性地揭示了“对立”英雄的内心世界。叶芝的声音系统在他的戏剧中发挥作用，就像叶芝在他的诗歌中系统地使用头韵一样，作为他对世界的哲学观点的诗歌对应物。《各各他》反映了叶芝的唯心主义“梦境-回归”的思想，从重新创造“灵魂的戏剧化”的意义上来说，它可以被视为叶芝的“能”剧。叶芝对声音象征主义的运用在《各各他山》中得到了详细阐述。“d”音的头韵使用介于“f”音和“b”音的对立之间，并引入了掷骰子者的舞蹈，这悲剧地加强了基督作为“主要”英雄的局限性。在《窗玻璃上的文字》中，叶芝将能的某些成分转化为他自己的梦幻声音形象。观众听到男主角乔纳森·斯威夫特（Jonathan Swift）陷入了一场激烈的身心冲突，这种冲突通过“b”音的象征性主导地位来表现。最后，气候之舞从未被形象化，最后一幕展现了后现代的戏剧时刻，用英雄的怪物精神的痛苦完全取代了普通的现实。

This two-year research project explored the visionary theatre of William Butler Yeats (1865-1939) from three different perspectives : the idea of 'Noh', spiritualism and sound symbolism. The research focused upon three poetic dramas : The Only Jealousy of Emer (1919), Calvary (1920), and The Words Upon the Window-Pane (1934), and analyzed symbolic stage representation in each of the plays.The Only Jealousy of Emer, which combines a 'changeling' motif in Irish folklore with spiritualism, has a structural connection with Japanese Noh, 'Aoi no Uye'. In the Musicians' opening song, the alternate use of the 'f' sound and the 'b' sound suggests the interpenetration of the two conflicting worlds, thus dramatically signifying the revelation of the inner psyche of the 'antithetical' hero. Yeats's sound system works in his plays in the same way that Yeats uses alliterations systematically in his poems - as a poetic counterpart of his philosophical view of the world.Calvary, which reflects Yeats's spiritualist idea of 'Dreaming-Back', can be regarded as Yeats's 'Noh' play in the sense that it recreates the 'dramatization of the soul'. Yeats's use of sound symbolism is elaborated upon in Calvary. The alliterative use of the 'd' sound comes between the opposition of the 'f' sound and the 'b' sound, and introduces the dance of the dice-throwers, which tragically intensifies the limitations of Christ as the 'primary' hero.In The Words Upon the Window-Pane Yeats transfigures certain components of Noh into his own visionary acoustic images. The audience hears the hero, Jonathan Swift caught in an intense conflict between mind and body that is represented through the symbolic dominance of the 'b' sound. In the end the climatic dance is never visualized, and the final scene demonstrates the postmodern dramatic moment that completely replaces ordinary realities with the agony of the monstrous spirit of the hero.