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The Origins of English Revenge Tragedy最新文献

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A Brief Interlude of Vice 罪恶的短暂插曲
Pub Date : 2019-07-01 DOI: 10.3366/edinburgh/9781474441711.003.0004
George Oppitz-Trotman
Bridging from the dialectic of action explored in the previous chapters to the dialectic of figuration and appearance considered in those which follow, this chapter sketches a triangular historical relationship between plays of revenge, the professionalisation of theatre, and the figure known as the ‘Vice’. The common player became the Vice when that figure disappeared from English plays in the 1570s and 1580s. Those were the years in which the professional actor emerged and theatre became an object of greater suspicion. In this way the appearance of the actor and his agency within the fictional scene acquired a specific and complex moral value. For revenge tragedy this was significant because the Vice had been the origin and impetus of the revenge narrative since English playwrights had first shown interest in the theme of extra-judicial vengeance, in translations of Seneca in the 1560s. To ask whether revenge was a moral deviation or devilish concoction, as did more famous plays of later decades, was to question the agency of the player and his interest in producing dubious illusions.
从前几章探讨的行动辩证法到后面几章讨论的形象和表象辩证法,本章勾勒出复仇剧、戏剧专业化和被称为“罪恶”的人物之间的三角历史关系。1570年代和1580年代,当这个角色从英国戏剧中消失时,普通演员就变成了Vice。那是职业演员出现的年代,戏剧也受到了更大的怀疑。通过这种方式,演员的出现和他在虚构场景中的角色获得了一种特定而复杂的道德价值。对于复仇悲剧来说,这很重要,因为罪恶是复仇叙事的起源和动力,因为英国剧作家在1560年代塞内加的翻译中首次对法外复仇的主题表现出兴趣。问复仇是一种道德偏差还是邪恶的混合物,就像后来几十年更著名的戏剧一样,是在质疑演员的能动性和他制造可疑幻觉的兴趣。
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引用次数: 0
Figures 数据
Pub Date : 2019-07-01 DOI: 10.3366/edinburgh/9781474441711.003.0006
George Oppitz-Trotman
How do we see the figures of baroque drama? This chapter challenges common moral and historical interpretations of the revenge play by showing how judgement itself is forestalled by prior difficulties of discernment and recognition. Such difficulties are produced by these plays because early modern playwrights had begun for the first time to link tragic form to problems of figure and figuration, person and personation. From this interest arose serious artistic investigations of dramatic materials, achieved via extended manipulation of revenge tragedy’s corpses, ghosts, and uncertain substances. Exploring these from a variety of angles, this chapter concludes that both moralist and historicist accounts of early modern tragedy have conspired in the neglect of its most inventive claims upon our attention.
我们如何看待巴洛克戏剧中的人物?本章挑战了对复仇剧的普遍道德和历史解释,展示了判断本身是如何被先前的辨别和识别困难所阻止的。这些戏剧之所以产生这样的困难,是因为早期现代剧作家第一次开始将悲剧形式与人物与形象、人物与拟人等问题联系起来。从这种兴趣中产生了对戏剧材料的严肃的艺术研究,通过对复仇悲剧的尸体,鬼魂和不确定物质的扩展操纵来实现。本章从不同的角度探讨了这些问题,得出的结论是,道德主义者和历史主义者对早期现代悲剧的描述都合谋忽视了它对我们注意力的最具创造性的要求。
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引用次数: 0
Servants 仆人
Pub Date : 2019-07-01 DOI: 10.3366/edinburgh/9781474441711.003.0005
George Oppitz-Trotman
Servants in early modern drama have increasingly been investigated less as objects of domination than as subjects capable of affective and ethical relations with their masters. Both sorts of interpretation depend upon the assumption that actual early modern servants are straightforwardly represented in drama of the time. Observing that common players were themselves patronised and liveried servants, and that the theatre itself appeared as a form of mercenary service, this chapter shows how procedures of dramatic figuration implicate identification of the servant in a complex dialectic of discernment. With roots in various sorts of contemporary social anxiety, such difficulties are at their most intense in revenge tragedy. In many places reading revenge plays involves confronting their ability to undo the social concepts used to grasp their historical content.
在早期现代戏剧中,仆人越来越多地被视为能够与主人建立情感和道德关系的主体,而不是统治的对象。这两种解释都依赖于这样一个假设,即早期的现代仆人直接表现在当时的戏剧中。观察到普通的演员本身就是受人庇护和穿着制服的仆人,而剧院本身就像是一种雇佣兵服务,本章展示了戏剧形象的过程如何在一种复杂的辨别法中暗示了仆人的身份。这种困境根源于当代社会的各种焦虑,在复仇悲剧中表现得最为强烈。在许多地方,阅读复仇剧需要面对它们消解用来理解其历史内容的社会概念的能力。
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引用次数: 9
Bare Facts, Endless Tragedies 赤裸裸的事实,无尽的悲剧
Pub Date : 2019-07-01 DOI: 10.3366/edinburgh/9781474441711.003.0007
George Oppitz-Trotman
Turning first to the classic revenge play sansrevenger, Arden of Faversham, this concluding chapter considers how this book’s findings bear on strongly held assumptions concerning the way concepts and categories relate to tragic works and their literary or theatrical afterlives.It is uncertain whether or not such works attain to ‘tragedy’ itself, or whether they prove incapable of it – but ‘metatheatre’ is a troublesome substitute. ‘Metatheatre’ is one of the most ubiquitous and influential concepts in contemporary study of (early modern) drama, yet the term’s origins and implications are very poorly understood. It conceals a host of naïve assumptions about the history and purpose of theatre, but survives precisely because its inadequacy reflects the confusion provoked by the figurative experiments identified for the first time by this book.
首先转向经典的复仇剧《无复仇者》,法弗舍姆的阿登,这一结论章考虑了这本书的发现如何与关于悲剧作品及其文学或戏剧来世的概念和类别的强烈假设有关。这些作品是否达到了“悲剧”本身,或者它们是否证明无法做到这一点,这是不确定的,但“元戏剧”是一个令人麻烦的替代品。“元剧场”是当代(早期现代)戏剧研究中最普遍、最具影响力的概念之一,但人们对这个词的起源和含义却知之甚少。它隐藏了许多naïve关于戏剧的历史和目的的假设,但它之所以能幸存下来,正是因为它的不足反映了本书首次确定的比喻实验所引起的混乱。
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引用次数: 0
Verge 边缘
Pub Date : 2019-07-01 DOI: 10.3366/edinburgh/9781474441711.003.0002
George Oppitz-Trotman
The Spanish Tragedy is widely considered a seminal work in English dramatic history, not only for its contemporary popularity but for its influence upon later secular tragedy. Nonetheless the role of its protagonist Hieronimo, as Knight Marshal of the Spanish court, has never been properly defined. This chapter recovers his English office’s ancient connection to the Verge, that is, the legal and virtually sacred space extending from and around the body of the English king. After a sketch of the origins and historical evolution of the Court of the Verge (or Marshalsea), it is shown for the first time how this anachronistic and highly contradictory space informs the structure and logic of the play. Within and around the Verge, role-play and affective alienation were enduringly connected to the performance of revenge. In The Spanish Tragedy, the tragic court took new shape; the avenger appeared on its margins.
《西班牙悲剧》被广泛认为是英国戏剧史上的一部开创性作品,不仅因为它在当代的流行,而且因为它对后来的世俗悲剧的影响。尽管如此,它的主角Hieronimo,作为西班牙宫廷的骑士元帅,从来没有被恰当地定义过。这一章恢复了他的英国办公室与边缘的古老联系,即从英国国王的身体延伸和周围延伸的合法和几乎神圣的空间。在概述了边缘法院(或Marshalsea)的起源和历史演变之后,它首次展示了这个时代错误和高度矛盾的空间是如何影响戏剧的结构和逻辑的。在边缘内外,角色扮演和情感异化一直与复仇的表现联系在一起。在《西班牙悲剧》中,悲剧宫廷有了新的形态;复仇者出现在书的边缘。
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引用次数: 10
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The Origins of English Revenge Tragedy
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