http://hokuga.hgu.jp/dspace/handle/123456789/154 1999-11-30 Search the Channel search http://hokuga.hgu.jp/dspace/simple-search http://hokuga.hgu.jp/dspace/handle/123456789/1307 Title: Contrapuntal Discourses in Jane Urquhart's Irish-Canadian Novel Away (1993)<br/><br/>Authors: Sellwood, Jane Leslie http://hokuga.hgu.jp/dspace/handle/123456789/1308 Title: 『新風十人』の美と思想 : 屈折表現の基盤と背景<br/><br/>Authors: 菱川, 善夫 http://hokuga.hgu.jp/dspace/handle/123456789/1306 Title: Who Am I? Jacob's (Post) Modern Identity Crisis<br/><br/>Authors: O'Brien, Patrick http://hokuga.hgu.jp/dspace/handle/123456789/1305 Title: Shakespeare and the Embodied Voice (in memory of George Rylands : 1902-1999)<br/><br/>Authors: Jones, Willie<br/><br/>Abstract: It has been generally supposed that if Shakespeare had a theory of drama at all, he would simply have taken for granted the assumptions of his time: that an artist attempts to offer as realistic (as mimetic) a picture as possible of the (hi)story he is presenting. Shakespeare's practice, however, indicates that he worked, and worked quite deliberately, with a very different theory of drama. He knew that realism, naive or otherwise, is not what a theater offers its audience: the living theatre uses words and the acts which words symbolize to simulate actions which rely on the words for their life*, while the words are newly embodied and the works are newly enacted each time actors perform a play. Shakespeare was a man of the theatre, working with the individual bodies of actors and their individual voices to embody, as if for the first time, the tale that they would, with their bodies and voices, have to tell: the world of Shakespearean drama is self-enclosed, self-created, self-generating; it is also highly rhetorical. This essay was originally a clothes-horse on which to hang a number of lengthy extracts from the plays themselves, intended (in performance) to show how conscious Shakespeare was that the actor's embodied voice is the true creative agent, like Orpheus with his lute, raising cities in the mind's eye rather than on the flat boards of The Wooden O. The original lecture/recital has been revised to elaborate the accompanying commentary. The chiasmatic and circular nature of that phrasing is deliberate.