查詢結果分析
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題 名 | Applying a Theatrical Abrasive: Staging Thomas Duffett's the Mock-tempest at the King's Company's "Plain Built House"=劇場粗糙美學之應用:湯瑪士.杜斐特《擬暴風雨》之演出 |
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作 者 | Szlyk, Marianne; | 書刊名 | 中山人文學報 |
卷 期 | 21 民94.冬 |
頁 次 | 頁21-45 |
分類號 | 873.55 |
關鍵詞 | 復辟時期劇場; 湯瑪斯; 杜斐特; 擬暴風雨; 諷刺作品; 嘲諷性作品; 大場面; 對其之回應; 莎翁改編劇; 復辟時期; 查理二世; 復辟時期男女演員; Restoration theater; Thomas duffett; The Mock-tempest; Satire; Burlesque; Spectacle; Response to; Shakespearean adaptations; Restoration; Charles II; Restoration actors and actresses; |
語 文 | 英文(English) |
中文摘要 | 本文檢視湯瑪斯•杜斐特一六七四年之諷刺劇《擬暴風雨》,當時的劇場風氣在新近製作的《迷幻島》中可見一斑,而《擬暴風雨》即對此風氣之回應。由於一六六七與一六七四年的兩齣《迷幻鳥》均將普羅司佩洛刻劃成統治者,若欲了解杜斐特的《擬暴風雨》,則需考量其他因素;一為當時國民對查理二世的不滿漸升,另一為國王劇團與較佔優勢的公爵劇團間的競爭。因此,對一六七○年代早期的觀眾來說,杜斐特攻擊當代劇場美學有其文化與政治上之重要性,特別是有關查理二世的政策、享樂主義、及他得自法國的金援。 |
英文摘要 | This essay examines Thomas Duffett's 1674 burlesque, The Mock-Tempest as a response to the theater of its time, which was exemplified by recent productions of The Enchanted Island. Because both versions of The Enchanted Island depict Prospero as a ruler, Duffett's burlesque must be contextualized within the political nation's growing disillusionment with Charles Ⅱ as well as within the King's Company's competition with the more successful Duke's Company. Therefore, Duffett's attack on the theatrical aesthetic of the early 1670s had a wider cultural and political importance for its audience, particularly those concerned by Charles Ⅱ's policies, his hedonism, and the economic support that he received from France. |
本系統中英文摘要資訊取自各篇刊載內容。