エリザベス朝の独得の劇場空間とシェイクスピア的表現力 : 聴覚的効果と視覚的意味(特別寄稿論文,関西英文学研究)

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  • Shakespeare's Stagecraft of Symbolic Representation at the Globe(Kansai English Studies)
  • エリザベス朝の独得の劇場空間とシェイクスピア的表現力 : 聴覚的効果と視覚的意味
  • エリザベス アサ ノ ドクトク ノ ゲキジョウ クウカン ト シェイクスピアテキ ヒョウゲンリョク : チョウカクテキ コウカ ト シカクテキ イミ

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Since a copy of De Witt's sketch of The Swan, an Elizabethan playhouse, was discovered in 1888, Shakespearean scholars have cast inquiring eyes at the original playhouses and staging. Walter Hodges is one of the distinguished scholars in this field of study, who published The Globe Restored (1953) and Enter the Whole Army-A Pictorial Study of Shakespearean Staging 1576-1616 (1998), both being illuminating books. However, he rarely interprets the Elizabethan stage and players' action on stage symbolically and iconologically. He limits his study mainly to stage characteristics and staging of the day. In the 1980's, David Bevington, Jean E. Howard and Allan Dessen especially, extended their explorations to include Shakespearean staging, action and language in the light of their interaction or orchestration. In short, their interest shifts from page to stage and to the audience's responses of the day. In this paper, I intend to examine Shakespearean stagecraft in a similar way. Here in this resume some scenes are taken from Richard III for examples. In the opening of 4.2, Richard ascends the throne with contented steps, supported by Buckingham, a scene which evokes a memorable moment of Richard who has finally made the zenith of temporal power. Towards the end of the same scene, Buckingham, his right-hand man, incurs his displeasure for his insistent begging of "reward for his deep services." With the cold remark "I am not in the giving vein to-day", the king leaves Buckingham alone in the hall, all the others exeunt. This scene visualizes Buckingham's moment of downfall and total isolation. At the beginning of 5.4, the king runs onstage with a limp, shouting desperately, "A horse! A horse! My kingdom for a horse!" Here the verbal and the visual cooperate for gaining most impressive theatrical effects. The king fallen down from the royal horse symbolizes his disgrace and downfall from the throne. His horse serves as a substitute for the throne. Hence, stage images (his throne and a slain horse) are thematically interwoven. Shakespeare's plays on stage were not at all restricted to his written word. Non-verbal language like gestures, postures, stage silences, stage grouping, theatrical space, music and other sound devices, stage costumes and properties as well as unique features of the Elizabethan stage, must have contributed greatly to the symbolic world of Shakespeare's plays.

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