tational field to fill in details that the theater did not itself reproduce. Astington wonders, for example, if early moderns would have recalled pictorial versions of battles to imagine the full-scale combat that could not be staged. Likewise, he returns repeatedly to the question of theatrical lighting. The torch, he points out, was “a conventional sign of night scenes on a daylit stage” (185), whereas on an “indoor stage . . . light was immediately pictorial” (154). As in his concluding discussion of Macbeth, Astington tries to reconstruct how a property like lighting— the taper that communicates night rather than reproducing it—shared space with references to a host of images familiar from books, churches, and public display. Astington pitches his book’s aims in modest terms: to widen “the debate regarding the theatre and visual art of Shakespeare’s time” and to reaffirm that “visual culture of the British Isles generally in the sixteenth and seventeenth centuries was considerably richer than used to be thought, and was not cut off from the rest of Europe” (235). Astington’s book is particularly valuable for the visual materials he has assembled in it. Even if the “unknowable” aspects of audience experience cannot ultimately be accessed, Stage and Picture offers twelve color plates and fifty-two black and white illustrations that comprise a storehouse of important images spanning from the 1490s to the 1660s. Astington’s book issues an alluring invitation to scholars and students of the literature of the English Renaissance who wish to deepen their understanding of and engagement with visual culture.

中文翻译：

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乔纳森·P·兰姆《文字市场中的莎士比亚》

tational 字段来填写剧院本身没有复制的细节。例如，阿斯廷顿想知道，早期现代人是否会回忆起战斗的图像版本来想象无法上演的全面战斗。同样，他反复回到舞台灯光的问题。他指出，火炬是“白天舞台上夜景的传统标志”（185），而在“室内舞台上”。. . 光立即成为图画”（154）。正如他对麦克白的总结性讨论一样，阿斯廷顿试图重构像照明这样的财产——传达夜晚而不是再现夜晚的锥度——如何通过引用书籍、教堂和公共展示中熟悉的大量图像来共享空间。阿斯廷顿以谦虚的方式阐述了他的书的目标：扩大“关于莎士比亚时代的戏剧和视觉艺术的辩论”，并重申“16 和 17 世纪不列颠群岛的视觉文化比过去想象的要丰富得多，并且并没有与其他人隔绝欧洲”（235）。阿斯廷顿的书特别有价值，因为他收集了其中的视觉材料。即使最终无法访问观众体验的“不可知”方面，Stage and Picture 提供了 12 个色板和 52 个黑白插图，这些插图构成了从 1490 年代到 1660 年代的重要图像库。阿斯廷顿的书向希望加深对视觉文化的理解和参与的英国文艺复兴时期文学的学者和学生发出了诱人的邀请。