"For 'tis your thoughts that now must deck our kings": Affect in Shakespearean performance【翻译】

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我是靠谱客的博主耍酷煎蛋，最近开发中收集的这篇文章主要介绍"For 'tis your thoughts that now must deck our kings": Affect in Shakespearean performance【翻译】，觉得挺不错的，现在分享给大家，希望可以做个参考。

概述

Dedication
This thesis is dedicated to my unconditionally supportive and loving parents, Henry and Roz, and
to the memory of my grandfather, Ernest Johnston Dieterich.
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Acknowledgments
This thesis would have been impossible without a number of people: Dr. Craig Dionne and Dr.
John Staunton, Dr. Andrea Kaston Tange, Dr. Christine Neufeld, Dr. Nataša Kovačević, Dr.
Abby Coykendall, Dr. Paul Bruss, Dr. Derek Mueller, the staff of the English Department, and
the faculty in Literature, Written Communication, and Creative Writing, all of whose classes,
office hours, hallway conversations, gatherings, and reading groups have “stimulated my
thinking,” gloriously burdened me with challenging reading material, and pushed me harder
than, at times, I might have liked; it all paid off. I am especially indebted to Dr. Lee Stille,
whose independent study in performance studies sparked this project, and whose numerous
classes and productions were instrumental in my growth as a performer-scholar. Warmest thanks
to Dr. Pirooz Aghssa, Terry Heck Seibert, John Seibert, Jen Graham, Dr. Howard Cass, and the
EMU Theatre Department, for teaching me to be an effective performer and giving me a home in
Quirk. Immense gratitude is due to Paul Riopelle for productive conversations and source
suggestions, Rick Eva, Jan Blixt and The Michigan Shakespeare Festival, and to the rest of the
Michigan and Chicago theatre communities who have welcomed me with open arms. Many,
many thanks to Melissa Pompili for her indispensible comments and advice, to Joe Montgomery
for patiently reading and amusingly commenting on drafts, and to Evan Lee, Trevor Snyder,
Chelsea Lonsdale, and all the M.A. students at Eastern, past and present, for constantly
challenging me, keeping me in stitches, and inspiring me more than they know. My utmost
affection and thanks to Nicholas M. Mourning for his unwavering support and careful comments.
Finally, to the “indifferent children” of Ypsilanti: Kelsey, Greg, Iain, Gretchen, Sara, Wes,
Larry, Theresa, Charlie, Alex, Katarina, et al., thank you all for waiting patiently for me to come
out on the other side of this. Cheers.
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Abstract
Because Shakespeare’s plays have been performed consistently for four hundred years,
Shakespearean performance is in an ideal position to demonstrate how performance transmits the
meanings of texts. This thesis argues that performances of Shakespeare’s plays create meaning
through the transmission of affect. Renaissance conventions of audience-actor engagement were
based on character tropes and staging practices of medieval theater, to which audiences
responded viscerally. To illustrate these responses, I draw upon 3 Henry VI and Richard III. I
then examine Hamlet, Twelfth Night, and As You Like It for their treatment of representation,
empathy, and the power of affect. These plays include latent affective cues; I demonstrate how,
instead of attempting to become characters, many contemporary actors examine their lines for
affective cues, as actors did in the Renaissance. Establishing performance as a site of varied
meaning creates conversation across disciplines that will lead to fruitful adaptations and
interpretations of Shakespearean works.
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Table of Contents
Dedication........................................................................................................................................ii
Acknowledgements........................................................................................................................iii
Abstract...........................................................................................................................................iv
List of Figures.................................................................................................................................vi
Introduction......................................................................................................................................1
Chapter 1: “In a trice, like to the old Vice”: Contexts for the Transmission of Affect in the
Playhouse.......................................................................................................................................18
Chapter 2: “I know not ‘seems’”: Hamlet and Representation......................................................39
Chapter 3: “How will this fadge?”: Affect and Empathy in Performance of Twelfth Night and As
You Like It......................................................................................................................................60
Conclusion: Looking Backwards, Going Forwards.......................................................................82
Works Cited...................................................................................................................................86