多元光谱的对话写作策略与莎士比亚戏剧之体现  

The Multifaceted Strategies of Dialogue in Shakespeare's Plays

作　　者：朱静美 Vivian Ching-Mei Chu

机构地区：[1]台湾大学戏剧系,台湾

出　　处：《中国莎士比亚研究》2018年第1期32-42,共11页

摘　　要：众所皆知,莎士比亚是为了演出而创作剧本的编剧家,大半辈子活在舞台上的他深黯如何既赢得观众喜爱却又不得罪当权者。为了在剧中迂回婉转地以古鉴今与反映时事,在他的笔下,角色很少直接说出心中真实的想法,观众唯有透过角色一人独讲的“独白”(soliloquy)与角色之间的“对白”(diaogue)才得以一窥角色内心的真实世界。不同于独白的重心在于角色内心自剖,对白不仅推衍剧情,更富含饶具深意的言外之意与趣味性,令观众得以在这些对话的蛛丝马迹中拼凑出角色的丰富面向。因此,着重探究莎翁多元的对话写作技巧,从中可看出莎士比亚角色语言之精妙所在,以及莎士比亚如何透过笔下的角色与他的大时代对话。As is known to all, Shakespeare is a playwright writing for stage performances;spending most of his life in commercial playhouses, he knew how to win the affection of his audience without offending the authorities. Apt at euphemistically informing the present by reenacting the past and reflecting on contemporary events Shakespeare rarely had his characters disclose their own thoughts in astraightforward manner. On that account, the audience can only catch a glimpse of the characters 'inner worlds via the ' between different roles. Unlike soliloquies, which feature the introspection of a certain character, dialogue not only move the plot forward but invoke rich connotations and unexpected humor, with which the audience are capable of getting a fuller picture of the characters involved. Hence, the purpose of this paper aims at investigating Shakespeare's multifaceted strategies of playwriting to probe into the art of his language and to examine how he talked to his own time through the characters he created.

关 键 词：莎士比亚 剧本创作 戏剧对白 

分 类 号：G633.3[文化科学—教育学]