Shared Rhetorical Devices in Shakespeare's Dialogue

目前，我们对莎士比亚在对话中的修辞运用的理解还存在很大的差距。这个提议的项目是此类研究的第一个深入研究，将通过调查莎士比亚在对话中使用的共享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，但由于修辞的起源，它们在单声演讲中被广泛分析（约瑟夫，1947；维克斯，1988），而且，尽管与对话修辞有短暂的接触（戴维斯，2003；凯勒，2009；沃克，2017），共享手段的令人兴奋的潜力仍未得到探索。我的论文和研究将表明，对话修辞是强有力的，有机会进行创新的分析和解释，这将开启新的表演可能性，揭示关于关系和情感的新想法；动机和意图；行动和反应。以及提供莎士比亚的性格特征的更深层次的理解和帮助当代演员在他们的文本的解释，我的研究也将提供对早期现代戏剧实践的理解原创性贡献。它借鉴了蒂芙尼·斯特恩和西蒙·帕尔弗雷对演员角色的全面研究，因为演员在只包含他们自己的台词和线索的角色中工作时，可以看到无数的对话修辞例子。因此，我的发现将添加到早期现代演员在准备角色时可用的“工具”列表中（Palfrey和Stern， 2007）。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辨别出他们的角色与场景中其他人关系的少数方式之一。三个研究问题推动了我的调查：“对话中的修辞手段与莎士比亚作品中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？”以及“这些知识对当代戏剧实践可能产生什么影响？”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，类似于单声形式。我将通过调查莎士比亚可能对修辞学的理解来开始我的研究过程，使用伊丽莎白时代的学校文本和修辞学手册。然后，我将对这些手法进行分析，并比较莎士比亚在演讲和对话中使用这些手法的方式。在研究这些发现对演员理解角色情感、地位和意图的意义之前，我将把与对话修辞有关的发现应用于角色互动和交流的探索。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，在此过程中，我的目标是创建一系列实用的工作坊练习，这些练习可以被当代演员在排练室中应用。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的方式，为戏剧专业人士带来莎士比亚对话中未被发掘的元素，从而影响当代戏剧实践，不可避免地为观众带来新鲜的体验。

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.