环球剧院灾年叙事:十七世纪英国火患与莎氏戏剧辨伪  

The Disaster Narrative in Shakespeare's Globe Theatre:City Fire in the 17th Century England and the Shakespearean Suspect Texts

作　　者：罗益民[1] 史敬轩 LUO Yimin;SHI Jingxuan

机构地区：[1]西南大学外国语学院

出　　处：《戏剧艺术》2020年第5期66-75,共10页Theatre Arts

基　　金：国家社科基金项目《拓扑隐喻学理论及其在文学批评中的应用》(16BWW001);教育部人文社科项目《英国盎格鲁萨克森神话的语本研究》(15YJA752011);重庆市社科规划项目《莎士比亚盎格鲁萨克森语本的现代数据挖掘研究》(2017YBWX095)的阶段性成果。

摘　　要：在莎士比亚的若干神话题材剧中,他并不像他同时代的剧作家那样大量运用烟火等特效手段,即便是在撷取希腊罗马神话中必不可少的各种法术玄幻场景的时候,他也尽量让演员用台词叙述,以避免直接演出。尽管他的时代舞台特效足可以完成多数的奇幻场景,而且莎翁也不怯于描写类似幽灵、鬼魅、巫术这样的情节,但他也以转述为主。如果不把莎士比亚看作一个剧本作家,而是看作一个写脚本的舞台作家,则会发现莎剧中诸多情节设计并不是为了阅读,而是为了满足观众和舞台条件。十七世纪的伦敦以及他的家乡频发的火灾既使他的手稿可能付之一炬,也使莎士比亚更加慎重地运用类似电闪雷鸣这样的剧场效果,由此或许可以推论,不存在为出版而准备的所谓莎士比亚手稿之类的东西,而更有可能存在的是来自他的手稿和一些提词本,从而使得我们或许可以依赖舞台情景来判断图书出版形式的莎剧中,哪些是莎翁亲笔,哪些是演员随机应变之作,哪些是出自他人的附会之辞。Shakespeare was very reluctant to display the lightning,thunder,inferno,or other supernatural scenarios on the stage.Unlike his fellow playwrights,he would let the actors say these things rather than let them act these out.Although the Elizabethan theatres had been well equipped to give all sorts of effect,and Shakespeare was also generous in writing and showing those spiritual or bloody actions,he never wrote for his readers to read but for his audience to understand.And if he was viewed as a playwright(playbook writer)instead of a writer for readers,Shakespeare's caution in the use of fire effects might come from the fire disasters in the 17th century English cities,which led to the probable corruption of his foul papers and prompt books,not manuscripts for print.This research attempt also offers a new way to define and locate the suspected parts of Shakespeare's plays.

关 键 词：环球剧院 灾年 叙事 火患 莎剧 

分 类 号：J80[艺术—戏剧戏曲]