|
HOKUGA >
北海学園大学 >
人文学部・文学研究科 >
研究紀要 >
北海学園大学人文論集 >
第14号 >
このアイテムの引用には次の識別子を使用してください:
http://hokuga.hgu.jp/dspace/handle/123456789/1305
|
| タイトル: | Shakespeare and the Embodied Voice (in memory of George Rylands : 1902-1999) |
| 著者: | Jones, Willie |
| キーワード: | voice
words
tongue |
| 発行日: | 30-Nov-1999 |
| 出版者: | 北海学園大学人文学会 |
| 抄録: | 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. |
| URI: | http://hokuga.hgu.jp/dspace/handle/123456789/1305 |
| 出現コレクション: | 第14号
|
このリポジトリに保管されているアイテムは、他に指定されている場合を除き、著作権により保護されています。
|
