Shakespeare for All? Some Reflections on the Globe Theatre’s Playing Shakespeare with Deutsche Bank Project

ABSTRACT

Every year since 2007, the Globe Theatre has run the Playing Shakespeare project, largely funded by Deutsche Bank. This has three main components: school-based workshops, CPD sessions for teachers and free performances for school students. From 2014 to 2016, we were commissioned to evaluate this project. In what follows, we reflect on the nature of this project and its relation to the versions of Shakespeare that figure so prominently in the terrain of contemporary schooling in England.     

Samuel Johnson's Breakthrough of Shackles of the Traditional“Three Unities”

"Three Unities",derived from Aristotle’s unity of action,were developed to be the golden rule of drama or play creation by the classicism in the seventeenth century."Three Unities",to some extent,provides the dramatic writing with certain law and criterion.However,the absolute standardization fetters the progress of artistic creation.Samuel Johnson,publishes the Preface to Shakespeare to propose the breakthrough of the shackles of"Three Unities"by the study of Shakespeare’s plays.This creative proposal accelerates the progress of the development of dramatic writing,thus,more excellent works writing in a more free way with a large scale appears in succession.     

试论莎翁传奇剧中的超现实因素

超现实因素是莎士比亚传奇剧的一个显著特征,主要表现在三个方面：异常突出的神力描写;过多的偶然、巧合情节;一厢情愿的宽恕、和解思想。     

从疯癫人物看莎士比亚悲剧中的基督教情结

莎士比亚是人文主义的代表作家,但基督教对他的影响在其创作中是非常深远的.特别是他的悲剧中几位著名的"疯癫"人物,在他们身上寄托了莎士比亚对爱的渴望.同时,在对人性的追寻与反思中,莎士比亚的悲剧与基督教有了交汇的入口.     

永恒的主题爱情的颂歌——论1968年版《罗密欧与朱丽叶》影片的艺术特色

莎士比亚的爱情悲剧《罗密欧与朱丽叶》已被搬上银幕12次,其中,1968年由弗兰克.杰弗瑞里导演的电影《罗密欧与朱丽叶》,自问世以来就一直被视为典范之作,这不仅因为该片严格忠实于原著,更在于它合理地发展了原著,谱写出一首探讨人类永恒主题的爱情颂歌。     

To Be Is to Create—Essence of Life in the First 17 Sonnets of Shakespeare

It is generally acknowledged that the first 17 sonnets of Shakespeare is a set of poems to urge a young man to get married and have a baby so as to immortalize his beauty.However,these sonnets mirror Shakespeare’s mediations on life and death.Man is by nature mortal being,and time is the enemy of life.To endure beauty long,man can fight against time by means of child-bearing and poetic creation.The first 17 sonnets address the theme:the essence of life is to create.     

汉语诗学观念对朱生豪翻译的影响

译入语内的诗学是翻译活动中一个重要的文化操纵因素,汉语诗学是一个多元的、不断演变的、较为独立的文学观念总和,译者和读者仅仅是片面地掌握并操纵诗学中的极其有限的规范。朱生豪使用白话翻译莎士比亚戏剧时,以包容的态度接受了欧化标准,并试图与传统诗学调和,采取了操纵改写策略,主要是顺从了汉语白话的诗学规范。     

从《暴风雨》看莎士比亚的基督教情结和人文主义思想

《暴风雨》作为文学巨匠莎士比亚在戏剧创作生涯最后一部独立完成的作品,被视为莎翁“诗的遗嘱”.由于欧洲特定的历史文化背景和其个人生活环境的影响,其剧作中同时包含了浓厚的基督教意味和人文主义思想,并具有相互交织又相互矛盾的特点.     

历史语境下莎士比亚《驯悍记》的女性观

通过再读莎士比亚早期戏剧作品《驯悍记》,本文以历史语境为切入点,结合莎士比亚时代的社会文化状况,对人物角色进行分析,揭示莎士比亚的创作意图,透视其在《驯悍记》中的女性观。     

人文主义与莎士比亚的戏剧创作

人文主义是基督教精神融合古希腊文化形成的对待人的态度.人文主义关注人,尊重人,肯定人的现世生活,但并不否定上帝,对抗宗教,排斥精神道德和正常的宗教生活.将"humanism"译作"人本主义"是错误的.莎士比亚戏剧创作中的人文主义表现出"乐观--失望--回归"的变化轨迹,但是始终闪耀着人文主义的光辉.