| Project/Area Number |
13610549
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| Research Category |
Grant-in-Aid for Scientific Research (C)
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| Allocation Type | Single-year Grants |
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| Section | 一般 |
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| Research Field |
英語・英米文学
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| Research Institution | Tohoku University |
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Principal Investigator |
ICHIKAWA Mariko Tohoku University, Graduate School of International Cultural Studies, Professor, 大学院・国際文化研究科, 教授 (80142785)
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| Project Period (FY) |
2001 – 2002
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| Project Status |
Completed (Fiscal Year 2002)
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| Budget Amount *help |
¥3,300,000 (Direct Cost: ¥3,300,000)
Fiscal Year 2002: ¥1,600,000 (Direct Cost: ¥1,600,000)
Fiscal Year 2001: ¥1,700,000 (Direct Cost: ¥1,700,000)
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| Keywords | stage / onstage / offstage / stage direction / within' / text / stage / stage direction / enter / exit |
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| Research Abstract |
This research project is based upon my finding about the Elizabethan use of stage space, which can be summarized as follows :
Marginal positions such as behind stage posts, near the stage doors, and even the space behind the frons scenae were sometimes treated as 'onstage' and sometimes as 'offstage'. In other words, the stage as a whole was not always treated as 'onstage' nor was the space behind the tiring-house facade always treated as 'offstage'.
The purpose was to consider the Elizabethan concept of 'acting space'. An important question in this regard is the meaning of the theatrical term 'within'. Through examining early printed texts and surviving manuscripts of English Renaissance plays, I have reached two major conclusions :
a) Shakespearean actors used the space behind the tiring-house facade as 'within', whether at the upper level or at the main stage level.
b) The actor who is referred to as within the tiring-house was not necessarily out of sight of the audience.
These and other new discoveries are reflected in my papers presented at two international conferences held in Cambridge and Stratford-upon-Avon during the research period :
1. 'Juliet's Descent from the Balcony : The Locale Change in Romeo and Juliet, 3.5'
2. '"Maluolio within": Acting on the Threshold between Onstage and Offstage Spaces'
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