頁籤選單縮合
題名 | Staging: A Comparative Study of the Chinese Yuan and English Renaissance Theaters |
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作者 | 魏淑珠; | 書刊名 | 東華漢學 |
卷期 | 1 2003.02[民92.02] |
頁次 | 頁175-206 |
分類號 | 980 |
關鍵詞 | Chinese Yuan; English renaissance; Staging; Portable properties; Sound effect; Spectacle; Combat scenes; Supernatural beings; Happy enging; Bloody scenes; Player; Entrance and exit; Director; Costume; Facial makeup; |
語文 | 英文(English) |
英文摘要 | This article argues that the bare, open stage of the Chinese Yuan and English Renaissance theaters called for similar processes and methods of staging. In both theaters, portable properties such as tables and chairs were handled by stagehands in full view of the audience. Musicians stationed on the stage made some of the sound effects. Combat scenes, supernatural beings and assemblage of the characters at the end of the play made superb spectacles. The spectacles popular in Renaissance England but not seen in Chinese Yuan dynasty were dumb shows and splashing of blood, reflecting more cultural than theatrical differences. Both theaters ere player-centered in their staging. The players departed with special cues such as a couplet, and they rehearsed without a director in the modern sense of the word. They wore splendid and expensive constumes, disregarding historical accuracy. Other than the clown-villain roles in the Yuan dynasty theater, facial makeup was subdued. These similarities indicate that both theaters aimed to entertain instead of presenting verisimilitude, which is extremely difficult, if not impossible, on the bare, open stage. There were sings, however, showing the Chinese theater moved over time toward a more stylized type of performance, whereas its English counterpart because increasingly a realistic. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。