Study of the Multiple Plot Structure of English Renaissance Drama in Terms of Audience Involvement in the Theater

从观众参与戏剧角度研究英国文艺复兴戏剧的多重情节结构

• 批准号: 13610546
• 负责人: TANAKA Kazutaka
• 金额: $ 0.32万
• 依托单位: Hirosaki University
• 依托单位国家: 日本
• 项目类别: Grant-in-Aid for Scientific Research (C)
• 财政年份: 2001
• 资助国家: 日本
• 起止时间: 2001 至 2002
• 项目状态: 已结题
• 来源: https://kaken.nii.ac.jp/grant/KAKENHI-PROJECT-13610546/
• 关键词: English Renaissance Drama; multiple plot; audience awareness; The Changeling; sublunary world; Macbeth; The Gunpowder Plot; equivocation; 虚構と現実; 『マクベス』(Macbeth); 「門番の場」(The Porter Scene); 火薬陰謀事件(The Gunpowder Plot); 英国ルネサンス劇場; 『チェインジリング』(The

This study aims to examine the significance of the multiple plot structure widely seen in English Renaissance Drama in terms of audience involvement in the theater. The most significant function of the sub-plots of English Renaissance Drama is to associate dramatic action with everyday life of the audience and the function plays an important role in English Renaissance Drama which was primarily intended for theatrical performance.In this study the author argues the following two points: (1) In The Changeling, a collaboration of William Rowley and Thomas Middleton, the idea of sublunary world which was understood as full of changes and changelings in Western philosophical tradition, plays the unifying role between the two plots which seem to present discrepant actions in the light of causal relations between the two plots. (2) The concept of equivocation which plays an important role in the thematic formation of William Shakespeare's Macbeth is rooted deeply in the political context of Jacobean age, especially in the political crisis exemplified in The Gunpowder Plot. Shakespeare makes use of the concept effectively for his manipulation of how audience perceives Macbeth's tragedy, alluding to the contemporary political issue when he gives giving a dramatic form to the original story of Macbeth which is supposed to happen in eleventh century Scotland. Therefore the Porter scene of Macbeth serves the similar function, however small in its magnitude, as other multiple plots of English Renaissance Drama.

本研究旨在探讨英国文艺复兴时期戏剧中广泛存在的多重情节结构对于观众参与戏剧的意义。英国文艺复兴戏剧次要情节最重要的功能是将戏剧动作与观众的日常生活联系起来，这一功能在主要用于戏剧表演的英国文艺复兴戏剧中发挥着重要作用。以下两点：（1）在威廉·罗利和托马斯·米德尔顿合作的《幻形》中，西方哲学传统中被理解为充满变化和幻形的尘世观念，在两个情节之间发挥着统一作用。鉴于两个情节之间的因果关系，似乎呈现出不一致的行为。 (2)含糊概念在莎士比亚的《麦克白》的主题形成中发挥着重要作用,它深深植根于詹姆斯一世时代的政治语境,特别是《火药阴谋》所体现的政治危机。莎士比亚有效地利用了这个概念来操纵观众如何看待麦克白的悲剧，当他为麦克白的原始故事赋予戏剧性的形式时，暗示了当代的政治问题，这个故事应该发生在十一世纪的苏格兰。因此，《麦克白》中的波特场景与英国文艺复兴时期戏剧的其他多重情节具有相似的功能，尽管其规模很小。