英語話劇幕後一瞥 A Glimpse behind the Scene of English Drama 亞洲大學 外文系 吳新發 國立員林家商 2012/10/24

1. 英語話劇幕後一瞥 A Glimpse behind the Sceneof English Drama 亞洲大學 外文系 吳新發 國立員林家商 2012/10/24

2. 前言 Preface • 何謂「英語戲劇」﹙English Drama﹚? English + drama (to do, to act) drama – theatre – performance

3. 基本要素 Basic Components • 劇本（Text） • 導演（Directing） • 場景（Setting） • 演員（Actor/Actress）

4. 劇本（Text） • 多幕劇 (Full-length play) • 獨幕劇 (One-act play) • 長 度 (Length) • 深 度 (Depth) • 人 物 (Characters) • 改 寫 (Rewriting) • 創 作 (Creative writing)

5. 導演（Directing）/舞台調度（Mise en scène） • 走位（Blocking） • 場景（Setting） • 燈光（Lighting） • 音效（Sound Effect） • 服裝（Costume）

9. Directing / Blocking Blocking refers to the process of situating your characters on the stage and moving them about. “All my directing pages are about blocking!” -- V. E.Meyerhold (1874-1940?)

10. Principles of Stage Blocking 1. Let the script do most of the work for you. 2. Avoid clutter -- keep the audience in mind. A traditional proscenium stage should be viewed as a living painting. No artist would dare place all of his painting's elements on one side of the painting. Balance the stage movements so that the audience has a feeling of aesthetics. 3. Allow the actors to improvise and contribute to the blocking process. 4. Never let the props or set do the acting.

11. Actual line focus -1

12. Actual line focus -02

13. Visual line focus -01

14. Visual line focus -02

15. Counter focus

16. Physical balance

17. Aesthetic balance

18. Stability

19. The Shadow of a Star by Nicholas Biel, dir. David C. Bryant (U Theatre of Williams College)

20. William Inge’s Picnic, dir. Robert Brauns (Peninsula Little Theatre, San Mateo, California)

21. Prompt Book The main job of a stage manager is to create a "prompt book". A prompt book is a copy of the script with notes on blocking, as well as light, sound, follow spot (spotlight), and deck cue's. A prompt book should be legible so that if the stage manager is unable to call the show, due to illness or other causes, his/her notes can be followed by anyone. Also as the prompt book is subject to frequent change during the process of creating blocking, only pencil should be used in writing notes.

22. 演員（Actor/Actress） • 姿勢（Gesture） • 語調（Tone） • 停頓（Pause） • 互動（Interaction）

23. "ACTORS Speak" Poll • Two years ago I placed "ACTORS speak" poll on my webpages. "What is MORE important in Acting?" was the question. 1360 votes received by Oct 1, 2004. Judge for yourself: • Talent 494 (36%) Skills 57 (4%) Luck 32 (2%) Knowledge 43 (3%) Connections 32 (2%) Training 55 (4%) Love for Acting 488 (35%) Persistence 106 (7%) Good Looks 18 (1%) Hustling 35 (2%) • Even if we put "knowledge" (3%), "training" (4%) and "skills" (4%) we will have only 11%! I do not know any other professional field where the learning could be counted for so little! Even in arts! • (-- Anatoly’s Blog) (http://biomechanics.vtheatre.net/title.html)(2008/11/17)

24. 案例 Case Studies • I. Hamlet and the Ghost (Hamlet: I.5) • II. Ibsen’s A Doll’s House (Act I.) • III. Beckett’s Waiting for Godot (Act II)

25. (Enter the Ghost, and Prince Hamlet following) HAMLET: Whither wilt thou lead me? Speak. I'll go no further. GHOST: Mark me. HAMLET : I will. GHOST : My hour is almost come When I to sulph'rous and tormenting flames Must render up myself. HAMLET : Alas, poor ghost! GHOST : Pity me not, but lend thy serious hearing To what I shall unfold. HAMLET : Speak, I am bound to hear. GHOST : So art thou to revenge when thou shalt hear. HAMLET : What? GHOST : I am thy father's spirit, Doomed for a certain term to walk the night, And for the day confined to fast in fires Till the foul crimes done in my days of nature Are burnt and purged away…. (Hamlet: I.5)

26. Ibsen’s A Doll’s House • A bell rings in the hall; shortly afterwards the door is heard to open. Enter NORA, humming a tune and in high spirits. She is in out-door dress and carries a number of parcels; these she lays on the table to the right. She leaves the outer door open after her, and through it is seen a PORTER who is carrying a Christmas Tree and a basket, which he gives to the MAID who has opened the door.) Nora. Hide the Christmas Tree carefully, Helen. Be sure the children do not see it [pg 6] till this evening, when it is dressed. (To the PORTER, taking out her purse.) How much? • Porter. Sixpence. • Nora. There is a shilling. No, keep the change.

27. (The PORTER thanks her, and goes out. NORA shuts the door. She is laughing to herself, as she takes off her hat and coat. She takes a packet of macaroons from her pocket and eats one or two; then goes cautiously to her husband's door and listens.) Yes, he is in. (Still humming, she goes to the table on the right.) Helmer (calls out from his room). Is that my little lark twittering out there? • Nora (busy opening some of the parcels). Yes, it is! • Helmer. Is it my little squirrel bustling about? • Nora. Yes! • Helmer. When did my squirrel come home? Nora. Just now. (Puts the bag of macaroons into her pocket and wipes her mouth.) Come in here, Torvald, and see what I have bought.

28. Helmer. Don't disturb me. (A little later, he opens the door and looks into the room, pen in hand.) Bought, did you say? All these things? Has my little spendthrift been wasting money again? Nora. Yes, but, Torvald, this year we really can let ourselves go a little. This is the first Christmas that we have not needed to economize. Helmer. Still, you know, we can't spend money recklessly. Nora. Yes, Torvald, we may be a wee bit more reckless now, mayn't we? Just a tiny wee bit! You are going to have a big salary and earn lots and lots of money. Helmer. Yes, after the New Year; but then it will be a whole quarter before the salary is due. • Nora. Pooh! we can borrow till then.

29. Beckett’s Waiting for Godot (Estragon draws Vladimir towards the tree. They stand motionless before it. Silence.) ESTRAGON: Why don't we hang ourselves? VLADIMIR: With what? ESTRAGON: You haven't got a bit of rope? VLADIMIR: No. ESTRAGON: Then we can't. (Silence.) VLADIMIR: Let's go. ESTRAGON: Wait, there's my belt. VLADIMIR: It's too short.

30. ESTRAGON: You could hang onto my legs. • VLADIMIR: And who'd hang onto mine? • ESTRAGON: True. VLADIMIR: Show me all the same. (Estragon loosens the cord that holds up his trousers which, much too big for him, fall about his ankles. They look at the cord.) It might do in a pinch. But is it strong enough? ESTRAGON: We'll soon see. Here. (They each take an end of the cord and pull.) • It breaks. They almost fall. • VLADIMIR: Not worth a curse. • (Silence.) • ESTRAGON: You say we have to come back tomorrow? • VLADIMIR: Yes.

31. ESTRAGON: Then we can bring a good bit of rope. • VLADIMIR: Yes. • (Silence.) • ESTRAGON: Didi? • VLADIMIR: Yes. • ESTRAGON: I can‘t go on like this. • VLADIMIR: That's what you think. • ESTRAGON: If we parted? That might be better for us. VLADIMIR: We'll hang ourselves tomorrow. (Pause.) Unless Godot comes. • ESTRAGON: And if he comes? • VLADIMIR: We'll be saved.

32. (Vladimir takes off his hat (Lucky's), peers inside it, feels about inside it, shakes it, knocks on the crown, puts it on again.) ESTRAGON: Well? Shall we go? VLADIMIR: Pull on your trousers. ESTRAGON: What? VLADIMIR: Pull on your trousers. ESTRAGON: You want me to pull off my trousers? VLADIMIR: Pull ON your trousers. ESTRAGON: (realizing his trousers are down). True. (He pulls up his trousers.) VLADIMIR: Well? Shall we go? ESTRAGON: Yes, let's go. (They do not move.)

33. 結語 Conclusion All the world’s a stage, And all the men and women merely players: They have their exits and their entrances; And one man in his time plays many parts,… -- As You Like It (II. vii)