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Staging The Frozen Deep as Practice-led Research: "Illusion can only be perfected through the feelings."
Dickens Quarterly ( IF 0.7 ) Pub Date : 2019-01-01 , DOI: 10.1353/dqt.2019.0038
Joanna Hofer-Robinson

Rapturous tributes to performances of The Frozen Deep by Wilke Collins in 1857 may be hard to understand when we read the drama today; indeed, they even provoked skepticism at the time. Writing in the Examiner in 1857, for example, a reviewer worried that audiences familiar with the sentimental language and stock characters of melodrama, but “who have not seen and judged” Collins’s play for themselves, “may not unreasonably suspect us of exaggerated eulogy,” when he recorded “the silent tribute of irrepressible tears” recently observed at a private production (“Tavistock House Theatricals” 38). This article suggests that we likewise receive only a partial impression of the play’s effect when reading the script in isolation. Emotion is writ large in melodrama and direct verbal articulation is only one device through which nineteenth-century actors communicated heightened feelings. Practitioners also utilized a combination of gesture, music and staging to create affective action and arouse sympathy.2 Such effects are now lost because, like many Victorian melodramas, the play is rarely performed. However, in response to a recent research production of The Frozen Deep, viewers reacted warmly, noting surprise at the play’s “emotional intensity” and “emotional power.” Although the dialog is stagy and overblown by current standards, the drama retains the potential to communicate and elicit emotion when words are contextualized in performance. A practice-led methodology that decenters Dickens’s involvement and

中文翻译:

将冰冻的深渊作为实践主导的研究:“只有通过感觉才能完善幻觉。”

当我们今天阅读这部戏剧时,可能很难理解对威尔克柯林斯 1​​857 年《冰封的深渊》表演的狂热致敬。事实上,他们当时甚至引起了怀疑。例如,在 1857 年的《考官》中,一位评论家担心,熟悉情节剧的感伤语言和人物角色,但“没有亲自看过和评判”柯林斯戏剧的观众,“可能不会无理地怀疑我们夸大了悼词, ”,当时他录制了最近在私人制作中观察到的“无法抑制的眼泪的无声致敬”(“Tavistock House Theatricals”38)。这篇文章表明,当我们单独阅读剧本时,我们同样只能对剧本的效果有部分印象。情感在情节剧中写得很大,直接的口头表达只是 19 世纪演员传达强烈感情的一种手段。从业者还结合了手势、音乐和舞台表演来创造情感动作并引起同情。2 这种效果现在已经消失,因为与许多维多利亚时代的情节剧一样,该剧很少上演。然而,在回应《冰封的深渊》最近的研究成果时,观众反应热烈,对这部剧的“情感强度”和“情感力量”表示惊讶。尽管按照当前的标准,对话是乏味和夸大的,但当在表演中将文字置于语境中时,该剧仍保留了交流和引发情感的潜力。一种以实践为导向的方法,它分散了狄更斯的参与和 从业者还结合了手势、音乐和舞台表演来创造情感动作并引起同情。2 这种效果现在已经消失,因为与许多维多利亚时代的情节剧一样,该剧很少上演。然而,在回应《冰封的深渊》最近的研究成果时,观众反应热烈,对这部剧的“情感强度”和“情感力量”表示惊讶。尽管按照当前的标准,对话是乏味和夸大的,但当在表演中将文字置于语境中时,该剧仍保留了交流和引发情感的潜力。一种以实践为导向的方法,它分散了狄更斯的参与和 从业者还结合了手势、音乐和舞台表演来创造情感动作并引起同情。2 这种效果现在已经消失,因为与许多维多利亚时代的情节剧一样,该剧很少上演。然而,在回应《冰封的深渊》最近的研究成果时,观众反应热烈,对这部剧的“情感强度”和“情感力量”表示惊讶。尽管按照当前的标准,对话是乏味和夸大的,但当在表演中将文字置于语境中时,该剧仍保留了交流和引发情感的潜力。一种以实践为导向的方法,它分散了狄更斯的参与和 在回应《冰封的深渊》最近的研究成果时,观众反应热烈,对这部剧的“情感强度”和“情感力量”表示惊讶。尽管按照当前的标准,对话是乏味和夸大的,但当在表演中将文字置于语境中时,该剧仍保留了交流和引发情感的潜力。一种以实践为导向的方法,它分散了狄更斯的参与和 在回应《冰封的深渊》最近的研究成果时,观众反应热烈,对这部剧的“情感强度”和“情感力量”感到惊讶。尽管按照当前的标准,对话是乏味和夸大的,但当在表演中将文字置于语境中时,该剧仍保留了交流和引发情感的潜力。一种以实践为导向的方法,它分散了狄更斯的参与和
更新日期:2019-01-01
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