戲劇簡介(英文)PPT課件

.,1,Drama,熊夢蘊(yùn),.,2,Drama,Dramaisthespecificmodeoffictionrepresentedinperformance.ThetermcomesfromaGreekwordmeaningactionwhichisderivedfromtodo.Theenactmentofdramaintheatre,performedbyactorsonastagebeforeanaudience,presupposes(預(yù)先假定)collaborative（合作的）modesofproductionandacollectiveformofreception.,Thestructureofdramatictexts,unlikeotherformsofliterature,isdirectlyinfluencedbythiscollaborativeproductionandcollectivereception,.,3,HistoryofWesterndrama,ClassicalAtheniandrama,WesterndramaoriginatesinclassicalGreece.Thetheatricalcultureofthecity-stateofAthensproducedthreegenresofdrama:tragedy,comedy,andthesatyrplay(【古希臘】森林之神滑稽短歌劇,薩堤羅斯滑稽劇).Theiroriginsremainobscure,thoughbythe5thcenturyBCEtheywereinstitutionalisedincompetitionsheldaspartoffestivitiescelebratingthegodDionysus（狄俄尼索斯：酒神和宗教狂歡慶祝大自然權(quán)力和豐饒之神）.,.,4,Satyrplay,SatyrplayswereanancientGreekformoftragicomedy,similarinspirittoburlesque(諷刺作品).Theyfeaturedchorusesofsatyrs,werebasedonGreekmythology,andwererifewithmockdrunkenness,brazensexuality,pranks,sightgags,andgeneralmerriment.SatyricdramawasoneofthethreevarietiesofAtheniandrama,theothertwobeingtragedyandcomedy.ItcanbetracedbacktoPratinasofPhlius,circa500BC.,Papposilenusplayingthecrotals,theatricaltypeofthesatyrplay,.,5,Romandrama,FollowingtheexpansionoftheRomanRepublic(50927BCE)intoGreekbetween270240BCE,RomeencounteredGreekdrama.FromthelateryearsoftherepublicandtheRomanEmpire(27BCE-476CE),theatrespreadwestacrossEurope,aroundtheMediterraneanandreachedEngland;Romantheatrewasmorevaried,extensiveandsophisticatedthanthatofanyculturebeforeit.,WhileGreekdramacontinuedtobeperformedthroughouttheRomanperiod,theyear240BCEmarksthebeginningofregularRomandrama.,ThefirstimportantworksofRomanliteraturewerethetragediesandcomediesthatLiviusAndronicuswrotefrom240BCE.,Medieval,IntheMiddleAges,dramainthevernacular(本地語言)languagesofEuropemayhaveemergedfromreligiousenactmentsoftheliturgy(禮拜儀式).Mysteryplayswerepresentedontheporchofthecathedralsorbystrollingplayersonfeastdays.,.,6,ElizabethanandJacobean,OneofthegreatfloweringsofdramainEnglandoccurredinthe16thand17thcenturies.Manyoftheseplayswerewritteninverse,particularlyiambicpentameter(抑揚(yáng)格五步音).,InadditiontoShakespeare,suchauthorsasChristopherMarlowe,ThomasMiddletonwereprominentplaywrightsduringthisperiod.,Asinthemedievalperiod,historicalplayscelebratedthelivesofpastkings,enhancingtheimageoftheTudormonarchy.AuthorsofthisperioddrewsomeoftheirstorylinesfromGreekmythologyandRomanmythologyorfromtheplaysofeminentRomanplaywrights.,Modernandpostmodern,Thepivotalandinnovativecontributionsofthe19th-centuryNorwegiandramatistHenrikIbsenandthe20th-centuryGermantheatrepractitionerBertoltBrechtdominatemoderndrama;eachinspiredatraditionofimitators,whichincludemanyofthegreatestplaywrightsofthemodernera.,.,7,Dramaticstructure,Dramaticstructureisthestructureofadramaticworksuchasaplayorfilm.Manyscholarshaveanalyzeddramaticstructure,beginningwithAristotleinhisPoetics.,ExpositionorIntroduction,Theexpositionprovidesthebackgroundinformationneededtoproperlyunderstandthestory,suchastheprobleminthebeginningofthestory.,Risingaction,Thebasicinternalconflictiscomplicatedbytheintroductionofrelatedsecondaryconflicts,includingvariousobstaclesthatfrustratetheprotagonistsattempttoreachhisgoal.,Climax,Thethirdactistheclimax,orturningpoint,whichmarksachange,forthebetterortheworse,intheprotagonistsaffairs.Ifthestoryisacomedy,thingswillhavegonebadlyfortheprotagonistsfirstly;andthenthingswillbegintogowellforthem.Ifthestoryisatragedy,thingswilgofromgoodtobadfortheprotagonists.Simplyput,thisiswherethemostdramaticpart.,.,8,Fallingaction,Summary:Thefallingactionisthatpartofthestoryinwhichthemainparthasfinishedandyoureheadingtotheconclusion.,Dnouement,Thednouementservesastheconclusionofthestory.Thecomedyendswithadnouementinwhichtheprotagonistisbetteroffthanatthestorysoutset.Thetragedyendswithacatastropheinwhichtheprotagonistisworseoffthanatthebeginningofthenarrative.Moremodernworksmayhavenodnouement,becauseofaquickorsurpriseending.,.,9,Classificationofdrama,Thetwomasksassociatedwithdramarepresentthetraditionalgeneric（通稱）divisionbetweencomedyandtragedy.TheyaresymbolsoftheancientGreekMuses（繆斯，司文藝、音樂、美術(shù)的女神）,Thalia（賽利爾，喜劇的女神）andMelpomene（黑爾波墨涅，司悲劇之繆斯）.ThaliawastheMuseofcomedy(thelaughingface),whileMelpomenewastheMuseoftragedy(theweepingface).,.,10,Tragedy,Tragedyisaformofartbasedonhumansufferingthatoffersitsaudiencepleasure.Tragedyreferstoaspecifictraditionofdramathathasplayedauniqueandimportantrolehistoricallyintheself-definitionofWesterncivilisation.themasterpiecesoftheartofdrama,ThemasterpiecesofTragedies:TheclassicalAtheniantragedies:,Aeschylus（埃斯庫羅斯）:ThePersians波斯人SevenagainstThebes七將攻拜忒TheSuppliants乞援者TheOresteia俄瑞斯忒亞Agamemnon阿迦門農(nóng)TheLibationBearers奠酒人TheEumenides復(fù)仇女神PrometheusBound普羅米修斯,Sophocles（索福克里斯）：OedipustheKing,俄狄浦斯王Antigone安提戈涅,Euripides（歐里庇底斯）：medea美狄亞TheTrojanWomen特洛伊婦女,.,11,Theearlymoderntragedies:IntheEnglishlanguage,themostfamousandmostsuccessfultragediesarethoseofWilliamShakespeareandhisElizabethancontemporaries.Shakespearestragediesinclude:,AntonyandCleopatra安東尼與克莉奧佩克拉Coriolanus科里奧蘭納斯Hamlet哈姆雷特JuliusCaesar朱利葉斯凱撒KingLear李爾王Macbeth麥克白Othello奧賽羅RomeoandJuliet羅密歐與朱麗葉TimonofAthens雅典的泰門TitusAndronicus泰特斯安特洛尼克斯,Themoderntragedies:,ChristopherMarlowe:TheTragicalHistoryofDoctorFaustusTamburlaine,JohnWebster:TheDuchessofMalfiTheWhiteDevil,.,12,Comedy,Comedyasapopularmeaning,isanyhumorousdiscourseorworkgenerallyintendedtoamusebycreatinglaughter.,Aristophanes(阿里斯托芬):Comedystartedfrom425BCE,Aristophanes,acomicplaywrightandsatiricalauthoroftheAncientGreekTheaterwrote40comedies,suchasTheFrogs,11ofwhichsurviveandarestillbeingperformed.,Comediesusuallyalsohaveelement