The Merry Shakespeare in Taiwan
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Shakespeare is known for his many facets and dimensions, notably as a playwright, poet, giant of world masterpieces and a historical figure with many cruxes in his life. Little do people ordinarily think of him as a lyricist who has worked closely with the musical composers. Indeed, in modern performances of Shakespeare’s plays, often the lyrical portions in accompaniment with music are either slighted or deleted and this is particularly so in the Eastern world. For the study of Shakespeare’s comedies, unfortunately, a good part of the comprehensive stage effects is lost. This paper intends to capture one aspect of the merry England in Shakespeare’s time and to explore traits of the early form of Renaissance vernacular (profane) music that has set in Shakespeare’s plays. Some of the lyrical portions in conjunction with the reconstructed Elizabethan music have been used in Taiwan in classroom and public lecture situations when interpreting Shakespeare. The target audience included English major and non‐major students as well as the average educated people. This Taiwanese audience found no difficulty in understanding the mirth and merriment of Elizabethan music through Shakespeare. To these groups of people, they now know that Shakespeare is not merely a dramatist but someone who can consolidate Elizabethan music in his stage acting.
Abstract
Shakespeare is known for his many facets and dimensions, notably as a playwright, poet, giant of world masterpieces and a historical figure with many cruxes in his life. Little do people ordinarily think of him as a lyricist who has worked closely with the musical composers. Indeed, in modern performances of Shakespeare’s plays, often the lyrical portions in accompaniment with music are either slighted or deleted and this is particularly so in the Eastern world. For the study of Shakespeare’s comedies, unfortunately, a good part of the comprehensive stage effects is lost. This paper intends to capture one aspect of the merry England in Shakespeare’s time and to explore traits of the early form of Renaissance vernacular (profane) music that has set in Shakespeare’s plays. Some of the lyrical portions in conjunction with the reconstructed Elizabethan music have been used in Taiwan in classroom and public lecture situations when interpreting Shakespeare. The target audience included English major and non‐major students as well as the average educated people. This Taiwanese audience found no difficulty in understanding the mirth and merriment of Elizabethan music through Shakespeare. To these groups of people, they now know that Shakespeare is not merely a dramatist but someone who can consolidate Elizabethan music in his stage acting.
참고문헌 (11)
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