文學(xué)專業(yè)外文翻譯--戲劇中話語的種類

1、<p>　　中文5940字,3378單詞，15800英文字符</p><p>　　畢業(yè)設(shè)計(jì)(論文)外文資料翻譯</p><p>　　學(xué)院 (系)： </p><p>　　專 業(yè)： </p><p>　　姓 名

2、： </p><p>　　學(xué) 號(hào)： </p><p>　　外文出處：Basics of English Studies, Version 03/04, Drama</p><p>　　附 件：1.外文資料翻譯譯文；2.外文原文。 <

3、/p><p>　　1.外文資料翻譯譯文</p><p><b>　　戲劇中話語的種類</b></p><p>　　戲劇的話語是在現(xiàn)實(shí)生活里人與人之間的對(duì)話中塑造出來的，然而，當(dāng)一個(gè)人欣賞一部話劇的過程中仍然需要去思考現(xiàn)實(shí)生活中與戲劇中對(duì)話的差別。話劇的言語基本上總是被塑造或者說修飾并經(jīng)常去應(yīng)對(duì)各種不同的用途。在一部演出的故事世界水平中，語言是當(dāng)然也

4、能夠呈現(xiàn)出現(xiàn)實(shí)世界對(duì)話中的語用功能。例如，要確?；ハ嗄芾斫鈱?duì)方并傳遞信息，使別人信服或去影響他人，與某人的經(jīng)歷或者感情信號(hào)相關(guān)連，等等。然而，戲劇中的語言往往擁有華麗浮夸的詞藻和充滿詩意的，例如，喜劇用不同于常規(guī)用途的言語的方式去達(dá)到吸引大家的注意力在其藝術(shù)本質(zhì)上（猶如文學(xué)作品中的語言）。在分析喜劇劇本的時(shí)候，人們應(yīng)該更仔細(xì)關(guān)注戲劇中可用的話語各種不同的形式。</p><p>　　在戲劇中，人物之間經(jīng)典的對(duì)話以及

5、整個(gè)情節(jié)場(chǎng)景是通過他們的話語互動(dòng)來帶動(dòng)和傳達(dá)的。戲劇中的話通常是由獨(dú)白和對(duì)話呈現(xiàn)的。一個(gè)獨(dú)特的對(duì)話形式，除了說話的人以外并沒有其他演員在臺(tái)上，這種形式稱之為獨(dú)白。 獨(dú)白在理查德III的時(shí)期出現(xiàn)頻繁，舉個(gè)例子，理查德經(jīng)常獨(dú)自留在臺(tái)上并講述他的秘密計(jì)劃。獨(dú)白主要用于更細(xì)致地表現(xiàn)人物性格同時(shí)也是從個(gè)人的層面來表達(dá)。換別的話來講：人物能夠在獨(dú)白中“講出他們的內(nèi)心”?；诂F(xiàn)實(shí)生活為出發(fā)點(diǎn)來考慮，表演者們?cè)谂_(tái)上解釋描述他們的感受、動(dòng)機(jī)等等是奇怪的行

6、為，但是在戲劇表演中卻是很重要的，舉個(gè)例子，如果沒有這些解釋，人物將很難傳遞他們的想法。在敘事文本中，相反的，思維想法能夠直接通過某些手段呈現(xiàn)出來，例如內(nèi)心獨(dú)白或者自由間接話語。拿哈姆雷特中著名的獨(dú)白作為參考：</p><p>　　是生存還是毀滅，這是一個(gè)值得深思的問題：</p><p>　　究竟該保持內(nèi)心的高貴，而默默承受命運(yùn)的暴虐與毒箭，</p><p>　　或

7、是挺身去反抗無涯的苦難</p><p>　　通過斗爭(zhēng)去終結(jié)他們。死亡，即是睡眠，</p><p>　　無他；如果說通過睡眠就能了解了</p><p>　　這般心痛以及千百種血肉之軀承擔(dān)的</p><p>　　皮肉之痛，這真的是一個(gè)完美的</p><p>　　天大的好事。死亡，即是睡眠；</p><p

8、>　　睡眠，也許會(huì)做做夢(mèng)，啊，這是個(gè)阻礙：</p><p>　　當(dāng)死亡的睡眠之夢(mèng)來襲，</p><p>　　當(dāng)我們擺脫了這一副腐朽的軀殼之后，</p><p>　　必定讓我們暫停并思考，</p><p>　　這使人終身受著折磨。</p><p><b>　　［。。。］</b></p&g

9、t;<p>　　就這樣，顧慮是我們都成為了懦夫，</p><p><b>　　因此決行決斷的本色</b></p><p>　　蒙上了一層思慮慘白的病容；</p><p>　　本可以轟轟烈烈大有作為</p><p>　　由于思慮不同而化為烏有，</p><p>　　喪失了行動(dòng)的能力。且

10、慢，</p><p>　　美麗的奧菲麗婭！女神，你的祈禱</p><p>　　是我一切的罪，請(qǐng)記住了。</p><p>　　(莎士比亞。哈姆雷特，III，1:56-88)</p><p>　　當(dāng)奧菲麗婭登入舞臺(tái)的同時(shí)（“且慢，／美麗的奧菲麗婭”，在86行），哈姆雷特的演講在技術(shù)層面上講已經(jīng)不再是獨(dú)白。評(píng)論家常常提及簡(jiǎn)單的“monologue”

11、，因?yàn)檫@是更長(zhǎng)用的術(shù)語。如果是一段獨(dú)白，其他的人物可以留在臺(tái)上，或是偷聽說話人的演講甚至是直接由他或她陳述。重點(diǎn)是，一個(gè)人要在長(zhǎng)時(shí)間內(nèi)把握整個(gè)舞臺(tái)。哈姆雷特的獨(dú)白向觀眾揭示了他的內(nèi)心的沖突矛盾。我們從中得知他在行動(dòng)與保持被動(dòng)中徘徊。事實(shí)是他在思考人生的苦難，死亡以及自殺的可能性中，表現(xiàn)出他是一個(gè)猶豫接近絕望的一個(gè)人物角色。同時(shí)，他的演說富含深刻的哲理，因而哈姆雷特在感性與理性中交錯(cuò)。這個(gè)例子闡述了言語在戲劇中的主要功能，即間接表現(xiàn)人物特

12、征。</p><p>　　情感與語音語調(diào)改變了觀眾聽到某句特定臺(tái)詞的方式。其中一種臺(tái)詞是通過各種不同方式去喚醒完全不同的感情。演員在戲劇中通過臺(tái)詞直接的傳達(dá)是導(dǎo)演和作家運(yùn)用的一種重要的技巧。以下是小提示。</p><p><b>　　給編劇的指導(dǎo)： </b></p><p>　　在你的腦海中生成這部戲劇的畫面。把對(duì)劇情關(guān)鍵的任何臺(tái)詞記錄下來，

13、并用一種符合場(chǎng)景基調(diào)的特定的方式去傳達(dá)。</p><p>　　用括號(hào)在臺(tái)詞前寫下演員需要表達(dá)出的情感。例如，如果這句臺(tái)詞需要表達(dá)的是憤怒，在這句臺(tái)詞錢寫下“（憤怒）”。</p><p>　　找到適合這句臺(tái)詞表達(dá)的音量。同樣地在括號(hào)標(biāo)注。如果這句臺(tái)詞需要用竊竊私語來表達(dá)，在臺(tái)詞前面鍵入“（竊竊私語）”。</p><p><b>　　給導(dǎo)演：</b>

14、;</p><p>　　與演員們保持溝通。演員需要了解你看這部戲劇的視角以及你對(duì)他們的表演的想法感受。這對(duì)與演員建立融洽關(guān)系有所幫助。</p><p>　　指導(dǎo)你的演員進(jìn)入角色。讓他們?nèi)ゴλ麄兊慕巧?。這對(duì)于演員們熟知如何傳達(dá)特定的臺(tái)詞有所幫助。在多數(shù)情況下，那些熟悉角色的演員能夠完美地進(jìn)行獨(dú)白，因?yàn)樗麄冎肋@個(gè)角色是誰。</p><p>　　傾聽演員們說的臺(tái)詞。如

15、果有任何臺(tái)詞聽著感覺不對(duì)，要馬上告知他們。</p><p>　　給演員如何表達(dá)臺(tái)詞的例子。讓他們跟著你復(fù)述幾遍對(duì)話以確保他們都明白了這些臺(tái)詞的改變。</p><p>　　對(duì)話中詞語強(qiáng)調(diào)的實(shí)驗(yàn)改變了對(duì)話對(duì)整個(gè)場(chǎng)景的影響。</p><p>　　給戲劇演員的提示－如何自然地哭泣</p><p>　　作為一個(gè)專業(yè)的演員，當(dāng)出演一個(gè)戲劇場(chǎng)景的時(shí)候最常見

16、的問題可能就是“怎么按照指令所示去哭？”這個(gè)問題存在許多問題；然而，其中最重要的一個(gè)是并不是“按照指示去哭“。作為一個(gè)戲劇電影里的演員，你并沒有被期待哭泣或者動(dòng)不動(dòng)就流眼淚；其次，你被期待去成為一個(gè)對(duì)自身角色注入感情的，在這種情況下，你的眼淚自然會(huì)涌出。</p><p>　　學(xué)會(huì)如何在場(chǎng)景里哭泣是一個(gè)非常獨(dú)立的過程；然而，是有你能遵從并且?guī)椭阃苿?dòng)這一表演技巧的特定提示。</p><p>

17、<b>　　不要強(qiáng)迫自己傷心。</b></p><p>　　當(dāng)你出演戲劇場(chǎng)景或進(jìn)行戲劇獨(dú)白的時(shí)候，你能很容易地從觀眾身上看出來你是否在強(qiáng)迫自己傷心或心煩意亂。這種感情是很原始的而且很普通，如果你并未切身感受它，它表達(dá)出來的時(shí)候會(huì)是奇怪的而且劣等的。那些最好的戲劇演員是那些能夠把他們?nèi)谶M(jìn)角色當(dāng)中，置身于情景當(dāng)中的演員。這些演員能夠把他們自己帶進(jìn)那個(gè)情境中，基于角色高度的感情狀態(tài)，眼淚會(huì)自然而然

18、流下。</p><p>　　記得我在電視試播工作的時(shí)候，我的所演的角色與他的母親有感情上的爭(zhēng)論。我花了幾個(gè)星期進(jìn)行角色分析和劇本解剖，因?yàn)槲遗c那個(gè)角色有很強(qiáng)的聯(lián)系。當(dāng)我在那個(gè)場(chǎng)景出演的適合，我非常投入于我的角色所講的話，當(dāng)我真的聽見我的“媽媽”說話的時(shí)候，眼淚就從我的臉龐翻滾下來了。這不是一個(gè)為了劇本的哭泣；但是，這種情感在我心里翻滾的時(shí)候自然導(dǎo)致了身體的反應(yīng)。</p><p>　　這是為

19、了告訴你，為了讓你能在戲劇演出中自然落淚，你必須與你的角色有強(qiáng)烈的連接，而且完全吸收別的人物對(duì)你所說的話。通過積極地聽而不是干等別的角色說完他的臺(tái)詞而你能接著說話，你需要?jiǎng)?chuàng)造一個(gè)真實(shí)的可信的情感聯(lián)系，這可以產(chǎn)生真實(shí)的情感反應(yīng)。</p><p><b>　　置身場(chǎng)景之中</b></p><p>　　在你踏上舞臺(tái)或者步入電影之前，置身于你所出演的場(chǎng)景中是很重要的。置身于你

20、的角色之中，在你的情境中，在其他角色之中以及情景如何影響你的角色的情緒。通過這樣做，你能完全潛意識(shí)地充滿在戲劇場(chǎng)景中需要高度表達(dá)的感情能量，這能致使你自然的生成眼淚。</p><p>　　若其他都失敗了，聞聞洋蔥吧</p><p>　　好吧，所以你是嘗試把你與你的角色相互連接，也真的在場(chǎng)景中聆聽了也嘗試把自己置身于劇本中；但是，你仍然無法讓眼淚自然流落。這不是一個(gè)正常的顯現(xiàn)，不要讓自己灰心

21、，因?yàn)橛械臅r(shí)候無論你是一個(gè)多么出色的演員，眼淚就是不流下來。無論何時(shí)我的演員同事們或者我自己面對(duì)這種情況，最容易讓眼淚流下的辦法就是把洋蔥切一半，并深吸氣。這刺鼻的氣味會(huì)馬上讓你的眼睛充滿淚水，一旦眼淚開始流下，它會(huì)持續(xù)滴落。我經(jīng)常發(fā)現(xiàn)，只要簡(jiǎn)單地讓眼淚生成之后會(huì)變成真的哭。</p><p>　　演員塑造他們角色的方式</p><p>　　幾年前，當(dāng)我第一次飾演莎士比亞的時(shí)候，我花費(fèi)了兩周

22、的時(shí)間排演，單純專注于臺(tái)詞的記憶。當(dāng)我用心熟知這些臺(tái)詞之后，我開始嘗試用各種聲音與舉止去表達(dá)直到我對(duì)我的角色滿意為止。</p><p>　　最近，我與一位導(dǎo)演在音樂劇中合作。導(dǎo)演想花費(fèi)幾個(gè)會(huì)議的時(shí)間與我單純討論這個(gè)人物的背景以及動(dòng)機(jī)，而不是先學(xué)習(xí)臺(tái)詞。臺(tái)詞的記憶隨后再做。</p><p>　　你呢？你是怎樣創(chuàng)造你的角色的？</p><p>　　不要選擇一個(gè)不是你的角

23、色！</p><p>　　好吧！所以基本上來說，你不能（?。。。┙酉乱粋€(gè)你根本不享受飾演的而且沒感受到你就是那個(gè)人的角色。例如，你覺得你很愚蠢，你千萬別選擇一個(gè)討厭鬼的角色。這是你千萬不能做的事！但是如果這是一個(gè)從愚蠢的人變成一個(gè)聰明帥氣的討厭鬼的話，接下吧！你會(huì)變成一個(gè)聰明帥氣的討厭鬼 （我使用這個(gè)角色，因?yàn)槲蚁矚g討厭鬼，哈哈）！所以說它是一個(gè)丑的老頑童。你知道這是你。但是她變的漂亮甜美。接了它！這同樣對(duì)你有效

24、。因?yàn)楫?dāng)你的角色改變，你也會(huì)改變。但如果你沒法得到這種類型的角色，那就不要單純地接下討厭鬼／頑童！接下你喜歡的角色并用你的正能量：時(shí)尚、傻笑、美麗、善良等等！變成你的角色。你投入你的演出越多，你就越能成為那樣！但如果你選擇了頑童（你沒有別的選擇）那么你不會(huì)變成頑童如果你全部投入進(jìn)去！你會(huì)吧這部分飾演的很好的：我們都有罪。享受你的演出還有選擇像你的角色，并且做自己！</p><p><b>　　我怎么做&

25、lt;/b></p><p>　　當(dāng)我演出的時(shí)候，我會(huì)確保其他演員看到我的演出，他們選擇了哪個(gè)詞，而且想明白為什么他們要這么說。如果說這個(gè)聽著很可怕，我要確保我給他們可怕的東西。聽其他人反饋是很重要的，他們從最初對(duì)角色的想法種會(huì)有不同的構(gòu)思。每次排演的時(shí)候，嘗試不同的性格去看看有何感受，這就是排練的意義。放松地去飾演一個(gè)瘋癲的角色，并感受樂趣，但是必須確保其他人都明白你說的話而且在戲劇中是合理的。要記住，在

26、劇院中任何東西都是夸大的，誠實(shí)的，人們花錢來看表演。比起保守的人，他們更樂意去看一個(gè)富有娛樂性的人，有著大嗓門和夸張的表演，熟讀劇本是很重要的，這樣才能直到在場(chǎng)景中發(fā)生什么，哪怕有人忘詞，就算所有都在前進(jìn)，你也可以救場(chǎng)，拉回到劇本中。</p><p>　　看著你的臺(tái)詞并作反應(yīng)</p><p>　　如果你的臺(tái)詞讓你覺得你是一個(gè)古怪的年輕女孩，而在教室后面的討厭鬼男孩，惡棍轉(zhuǎn)英雄式的人，或者是

27、新進(jìn)城的帶法國口音的女孩，爭(zhēng)取它！去做讓你覺得你表現(xiàn)的更好的！</p><p><b>　　跟隨大流</b></p><p>　　嘲笑你的錯(cuò)誤，這樣才不會(huì)整晚躺在床上覺得丟臉而且害怕下一次排練。</p><p><b>　　塑造角色</b></p><p>　　當(dāng)你塑造一個(gè)角色的時(shí)候，主要事情式你必

28、須要發(fā)覺場(chǎng)景中你的動(dòng)機(jī)。你必須在整個(gè)表演中跟隨它。</p><p><b>　　性格的塑造</b></p><p>　　雖然這幾天作為戲劇技術(shù)工作，但我已經(jīng)在戲劇領(lǐng)域工作超過十年了。一邊來說這些天性格的塑造源于Stanislovsky 在演員準(zhǔn)備中的奠基。通過研究及基本背景工作你能學(xué)習(xí)到或者決定你的性格是怎樣。嘗試一下簡(jiǎn)單一些的讀物，試讀一下羅伯特寇恩的書《actin

29、g one》。他使用了Stanislovsky的初衷去創(chuàng)造了GOTE技術(shù)。GOTE是目標(biāo)，他人，策略與期望的縮寫。運(yùn)用這個(gè)簡(jiǎn)單的模型，一個(gè)演員能夠把想要的，需要的，目標(biāo)和他們個(gè)人用肉眼可見的方法記錄在紙上。這酒喝覺得的基本歷史相匹配了，例如婚姻狀況、年齡、性別等，這些都將帶領(lǐng)演員通往更深層面的思考。這些信息可以通過劇本提供，也通過一些調(diào)查（通過研究現(xiàn)實(shí)的人），還有一些是通過演員自身的判斷。</p><p><

30、;b>　　一切都從演出開始</b></p><p>　　這看來很明顯，但是第一次看清楚你的角色的時(shí)候是通過讀清楚演出。在對(duì)你的角色做任何決定和評(píng)判之前，先通讀整部表演三次。第一次閱讀是“愉快閱讀”。致使用作純粹的娛樂性質(zhì)一般讀整部戲劇，不要放任何獨(dú)特的關(guān)注在你的角色上。讀第二次，這一次要記錄下所有關(guān)于你的角色的描述，從其他角色做的事情從而影響到你的角色的各個(gè)細(xì)節(jié)。第三次閱讀記錄下你的角色說的有關(guān)

31、其他角色的話，還有所有你的角色在他們所在的世界所做的改變。這個(gè)時(shí)候，你應(yīng)該能有一個(gè)很好的框架去開始了。</p><p>　　如何成為一個(gè)好的演員</p><p>　　總有一個(gè)人能踏上舞臺(tái)并偷走整個(gè)表演。他們是把你拉進(jìn)他們的世界然后把你們留在自己座位底下的好演員。請(qǐng)繼續(xù)讀下去，看看到底要如何成為這么偉大的演員，表達(dá)如此強(qiáng)烈的情感以至于搶走了你的觀眾。</p><p>

32、　　不要害怕。出去然后試聽。試試調(diào)大你耳機(jī)的音量，并擺一個(gè)好的姿勢(shì)，微笑并讓你看起來很快樂。</p><p>　　自信，不管你在戲劇中飾演什么角色。你是非常重要的，有時(shí)唱詩班是整個(gè)產(chǎn)品中很重要的一部分?？隙ㄓ腥诵枰诔姲嗬锏?，努力把本分做好。</p><p>　　如果你在戲劇中沒有成功，不要放棄繼續(xù)努力！每個(gè)人都能演出點(diǎn)什么，比別人更多的經(jīng)驗(yàn)。</p><p>　

33、　表達(dá)你自己。做一個(gè)好的演員主旨是表達(dá)你所感受的情感。觀眾需要的是知道發(fā)生什么而且感受這個(gè)特定的情景。</p><p>　　學(xué)會(huì)反應(yīng)。并不是所有人都認(rèn)可表演即是反應(yīng)，但在學(xué)習(xí)表演的時(shí)候這仍然是重要的需要考慮的事情。這說明了你需要在你處于特定表演場(chǎng)景時(shí)的反映上下功夫。</p><p>　　把你自己關(guān)在你的角色的世界中。在情形中對(duì)其他人物做你的角色會(huì)做的 反應(yīng)。把你自己保持在這個(gè)狀態(tài)中。不

34、要嘗試或開始預(yù)想下一個(gè)情景，或者回想你在前一個(gè)場(chǎng)景中說的臺(tái)詞對(duì)不對(duì)。</p><p>　　讓你的姿勢(shì)符合你的人物形象。很重要的是你要記住，一些很小的事情例如一個(gè)動(dòng)作都能對(duì)你的角色造成很大的區(qū)別。并不僅僅因?yàn)檫@讓你看起來更自信，但它也會(huì)讓你感覺到更自信，因?yàn)樗鼤?huì)強(qiáng)迫讓你站直而不是把背拱得太遠(yuǎn)。</p><p>　　控制你的語速與音量。當(dāng)背臺(tái)詞的時(shí)候，很可能會(huì)致使人盡可能快地說出來。雖然，要小

35、心不要過度夸張睇表達(dá)。速度放得太慢會(huì)讓你聽起來像機(jī)器人，而且會(huì)讓你的觀眾覺得無聊。仔細(xì)想想，一個(gè)人會(huì)怎樣說出這些詞語。同樣，確保你展現(xiàn)出足夠大的音量讓戲院后面的觀眾都能聽見你的聲音，但避免吆喝。電子設(shè)備替代。</p><p>　　有重點(diǎn)地表演。想想每句臺(tái)詞里頭的潛臺(tái)詞，并且有根據(jù)地強(qiáng)調(diào)。這可能聽起來不太重要，但是強(qiáng)調(diào)能給你說的任何一句話帶來巨大的影響。我愛你表達(dá)完全不同于我愛你的意思。</p>&l

36、t;p>　　把你自己放進(jìn)去你的角色當(dāng)中。你不可能適當(dāng)?shù)爻尸F(xiàn)出你的角色，除非你能把自己放進(jìn)他們的腦子中。甚至，雖然你的話語是劇本寫好的，但是你的行動(dòng)和舞臺(tái)場(chǎng)面設(shè)計(jì)不總是不變的。再者，了解你的角色能在有人忘詞的時(shí)候幫助你即興發(fā)揮。</p><p>　　不要打破第四道墻。除非這被特別聲明了，不然要避免跟觀眾打招呼。這么做會(huì)讓觀眾更容易忘記你在表演，這會(huì)讓整個(gè)成品沒那么可信。</p><p>

37、;　　永遠(yuǎn)不要做和電影里的演員一樣的。讓你的角色獨(dú)一無二。是的，在電影里他們把角色詮釋得很好，但是你不想去復(fù)制。</p><p>　　說之前想清楚，這樣你不會(huì)把“額”或者口吃帶出來。這樣會(huì)讓你的觀眾感覺無聊而且失去興趣。</p><p>　　讓肢體動(dòng)起來！爵士手、豎拇指、一個(gè)戲劇性地靠在臀部上、揉眼睛、吐舌頭、拖著腳走路、撩動(dòng)頭發(fā)、微笑、凝視任何與你角色有關(guān)的動(dòng)覺，都要嘗試，不要讓它變得空

38、白而后流逝。</p><p>　　當(dāng)你緊張的時(shí)候要清楚知道你做的事。避免玩弄頭發(fā)、雙手插袋或者拖動(dòng)雙腳。深呼吸，或者喝點(diǎn)水來對(duì)付你的緊張情緒。安撫自己，會(huì)變好的。</p><p>　　努力做一些某人真的會(huì)做的事。例如，如果你很傷心，會(huì)在你的眼神里表達(dá)出來，而不僅僅是你的嘴巴你的聲音。如果你生氣，拉緊自己，怒目而視，讓憤怒看起來真實(shí)！</p><p>　　永遠(yuǎn)不要讓你

39、的替補(bǔ)說一些讓你離開的話！</p><p>　　在臺(tái)后，要有禮貌！不要在臺(tái)后說話，或者阻礙出入口。</p><p>　　學(xué)習(xí)你的臺(tái)詞。如果你不熟悉他們，你會(huì)在臺(tái)上冷場(chǎng)！</p><p>　　在排演的時(shí)候穿好服裝－確保你已經(jīng)準(zhǔn)備好了！！不要緊張。如果你是完全平凡的其中一員（唱詩班也一樣?。?。在排練中化好妝并穿戴整齊，因?yàn)檫@會(huì)讓導(dǎo)演看見你在成品中的樣子。</p&g

40、t;<p>　　真實(shí)的事情－在大日子中你已經(jīng)做好準(zhǔn)備了，等就好了！如果你有一場(chǎng)表演需要唱歌，至少在表演前四小時(shí)不要進(jìn)食任何東西。提前15分鐘到場(chǎng)，并預(yù)想，如果你在公開表演的樣子。不要緊張，只需要走出去把你的內(nèi)心唱出來就好了。做你做好的表演！如果有人忘記了他的臺(tái)詞，用合情合理的方式掩蓋它，冷靜地帶過，不要讓它變成大大的慌亂。你會(huì)做的很好的!</p><p><b>　　2.外文原文</

41、b></p><p>　　Types of Utterance in Drama</p><p>　　Dramatic language is modelled on real-life conversations among people, and yet, when one watches a play, one also has to consider the differen

42、ces between real talk and drama talk. Dramatic language is ultimately always constructed or ‘made up’ and it often serves several purposes. On the level of the story-world of a play, language can of course assume all the

43、 pragmatic functions that can be found in real-life conversations, too: e.g., to ensure mutual understanding and to convey information, to</p><p>　　Monologue, Dialogue, Soliloquy</p><p>　　In dra

44、ma, in contrast to narrative, characters typically talk to one another and the entire plot is carried by and conveyed through their verbal interactions. Language in drama can generally be presented either as monologue or

45、 dialogue. Monologue means that only one character speaks while dialogue always requires two or more participants. A special form of monologue, where no other person is present on stage beside the speaker, is called soli

46、loquy. Soliloquies occur frequently in Richard IIIfor </p><p>　　To be, or not to be, that is the question:Whether ‘tis nobler in the mind to sufferThe slings and arrows of outrageous fortune,Or to take ar

47、ms against a sea of troublesAnd by opposing end them. To die – to sleep,No more; and by a sleep to say we endThe heart-ache and the thousand natural shocksThat flesh is heir to: ‘tis a consummationDevoutly to be wis

48、h’d. To die, to sleep;To sleep, perchance to dream – ay, there’s the rub:For in that sleep of death what dreams may come,When we have </p><p>　　As soon as Ophelia enters the stage ("Soft you now, / T

49、he fair Ophelia", line 86f), Hamlet’s speech is technically no longer a soliloquy. Critics often refer to it simply as monologue, as this is the more general term. In case of a monologue, other characters can be pre

50、sent on stage, either overhearing the speech of the person talking or even being directly addressed by him or her. The main point is that one person holds the floor for a lengthy period of time. Hamlet’s soliloquy reveal

51、s his inne</p><p>　　Emotions and voice inflections change the way the audience hears a certain line. One line can be delivered in various ways to evoke completely different emotions. Directing an actor in li

52、ne delivery is an essential skill for playwrights and directors. Here are tips.</p><p>　　Instructions For Playwrights：</p><p>　　Visualize the play in your head. Take note of any lines that are c

53、ritical to the plot and must be delivered in a certain way to match the tone of the scene.</p><p>　　Write the emotion the actor needs to use when delivering the line in parentheses in front of the line. For

54、example, if the line needs to be angry, write "(angry)" before the line of dialogue.</p><p>　　Find the correct volume for delivery of the line. Write this in parentheses as well. If the line needs

55、to be said in a whisper, type "(whisper)" before the line.</p><p>　　For Directors</p><p>　　Stay in communication with the actors. The actors need to know your vision for the play and h

56、ow you feel about their performances. This helps establish a rapport with the actors.</p><p>　　Direct your actors to stay in character. Ask them to study their characters. This helps the actors know how to d

57、eliver certain lines. Many times an actor who knows the character will deliver dialogue perfectly because he understands who the character is.</p><p>　　Listen to the actors as they deliver lines. Tell them i

58、mmediately when something sounds wrong.</p><p>　　Give the actors examples of how the line needs to be delivered. Let them repeat the dialogue back to you a few times to make sure they understand the changes.

59、</p><p>　　Expereiment with emphasis on the words in the dialogue to change how the dialogue affects the scene.</p><p>　　Tips for Dramatic Actors - How to Cry Naturally</p><p>　　As a

60、 professional actor, perhaps one of the most commonly asked questions when it comes to performing a dramatic scene is, "How do you cry on command?" There are several things wrong with this question; however, on

61、e of the most important of these is it is not "crying on command." As an actor within a dramatic film, you are not expected to cry at the drop of a hat; rather, you're expected to become so involved in your

62、 character and in the circumstances the tears begin to flow naturally.</p><p>　　Learning how to cry within a scene is a very individualized process; however, there are certain tips you can follow to help jum

63、pstart this acting technique.</p><p>　　Don't Force the Sad</p><p>　　When you're acting in a dramatic scene or delivering a dramatic monologue, the audience can easily tell if you're

64、forcing yourself to become sad or distraught. This emotion is so raw, and so common, if you are not feeling it with true conviction it comes across as hokey and cheesy. The best dramatic actors are those who can actually

65、 place themselves within the character, and within a scene. These actors are able to transport their mind into the situation, and due to the highly emotional state of</p><p>　　I remember working on a televis

66、ion pilot, and my character was having an emotionally charged argument with his mother. I spent several weeks performing character analysis and dissecting the script, thus I had a strong connection with this character. W

67、hile we were filming the scene, I was so involved in what my character was saying, and I was actually LISTENING to what my "mother" was saying tears began to roll down my face. This wasn't a scripted cry; h

68、owever, the emotions running through me cau</p><p>　　This goes to show you, in order to make yourself cry naturally during a dramatic scene you must be fully connected with your character, and actually absor

69、b what the other characters are saying to you. By actively listening and not just waiting for them to finish their line so you can speak, you create a realistic and believable emotional bond, which will result in the nec

70、essary emotional reactions.</p><p>　　Mediate on the Scene</p><p>　　Before stepping onto a film set or onto a stage, it is important to mediate on the scene you're about to perform. Meditate

71、on your character, on the circumstance, on the other characters and how this scene is affecting your character emotionally. By doing so, you are filling your subconscious with the emotional power needed to deliver a high

72、ly dramatic scene, which will result in a natural formation of tears.</p><p>　　When All Else Fails, Sniff an Onion</p><p>　　Okay, so you've tried connecting with your character, truly listen

73、ing within the scene and meditating on the script; however, you're still unable to make the tears flow naturally. This is not an uncommon circumstance, and don't let it get you down as sometimes crying just doesn

74、't happen no matter how great of an actor you truly are. Whenever my fellow actors or myself have encountered this situation, the easiest way to get the tears flowing is to cut an onion in half and take a big sniff.

75、The pu</p><p>　　Ways for Actors to Develop Their Characters</p><p>　　A few years ago, when I was performing in a Shakespeare play for the very first time, I spent the first two weeks of rehearsa

76、l just focusing on line memorization. After I knew all of the lines by heart, I then began experimenting with different voices and mannerisms, until I was happy with my character.</p><p>　　More recently, I w

77、as working with a director in a musical comedy. Instead of learning my lines first, the director wanted to spend a few sessions just talking about my character's background and what motivates my character. Line memor

78、ization came later.</p><p>　　What about you? How do you create your characters?</p><p>　　Don’t choose who you're not!</p><p>　　Ok !So basically you cant (!!!) take a character t

79、hat you do not ENJOY acting and FEEL as if you are the person. . eg. You think you are dumb, you must NOT take the role as a nerd. This is something you cannot DO! BUT If the role is a dumbo BECOMING a clever awesome ner

80、d THEN TAKE IT! You will then become the clever awesome nerd (I used this example cos I love nerds xD)! So say its an old ugly brat. You know its you. But she BECOMES beautiful and sweet. TAKE IT! This will also work in

81、you. As yo</p><p>　　How ? do it</p><p>　　When i act i make sure to note how other characters see mine, what words they chose, and figure out why they say them a certain way. ?f it says they soun

82、d scared, ? make sure ? give them something to be afraid of. ?ts important to listen to the feedback of others, they will have different ideas from what they initially thought of the character. Everytime you rehearse try

83、 something different with your character to see how it feels, thats what rehearsals are for after all. Feel free to be a wacky </p><p>　　Watch your Lines and Responses</p><p>　　If your lines mak

84、e you feel as if you are a ditzy teen girl, the nerdy boy in the back of the classroom, the villain-turned-hero type of guy, or the new girl in town who has a French accent, go for it! Just do what you feel would make yo

85、ur show (and character) even better!</p><p>　　Go with the flow</p><p>　　Laugh about your mistakes and you wont be embarassed or stay up in bed all night dreading the next rehearsal.</p>&

86、lt;p>　　Developing Character</p><p>　　When you develop a character,the main thing you must discover is your MOTIVATION in the scene. You must also FOLLOW THROUGH the WHOLE time during the performance.</

87、p><p>　　Character Development</p><p>　　Though working these days as a theatrical techy, I have worked for 10 + years in the field of theatre. Generally the standard these days for character develop

88、ment stems from the foundation laid by Stanislovsky in The Actor Prepares. Through research and basic ground work you learn or decide who your character is. For a bit easier read try Robert Cohen's book Acting One. H

89、e has taken these initial ideas from Stanislovsky to create the GOTE technique. Which stands for Goal, Others, Tactics, & Expe</p><p>　　It all starts with the play</p><p>　　It seems obvious,

90、 but the first place to get insight into your character is by reading the play. Before making any decisions or judgments about your character, read the whole play three times. The first read is a "pleasure read"

91、;. Just read the play as a whole purely for enjoyment purposes, paying no particular attention to your character. Read the play a second time, this time recording everything that is said about your character, and every d

92、etail you can find about the environment and people s</p><p>　　How to be a good actor or actress</p><p>　　There is always someone who can step on stage and steal the whole show. They are such a

93、good actor/actress that they pull you into their world and leave you on the edge of your seat. Keep reading to find out how to be a great actor/actress and show strong emotions that will captivate your audience.</p>

94、;<p>　　1 Don't be scared. Get out there and audition. Try your hardest be loud have good posture. Smile and look like you are having fun.</p><p>　　2 Be confident, no matter what role you get in th

95、e play. You are really important sometimes the chorus is one of the most important parts of a production ... someone has to be in the chorus. You'll work your way up.</p><p>　　3 If you don't make it

96、in the play, keep trying and don't give up! Everyone can act some just have more experience than others.</p><p>　　4 Express yourself. The main idea in being a good actor or actress is expressing emotion

97、and what you're feeling. The audience needs to know what is happening and to feel about certain situations.</p><p>　　5 Learn to react. While not everyone agrees that acting is reacting, it is still an im

98、portant thing to consider when you're learning about acting. This means that you have to work on your responsiveness to any given acting situation.</p><p>　　Engage yourself in your character's world.

99、 React to circumstances and other characters as your character would.Keep yourself in the moment. Don't try and start thinking ahead to the next scene, or agonizing about whether you said your lines appropriately in

100、the previous scene.</p><p>　　6 Make your posture match your character. It's important to remember that something as small as an accurate posture for your role can make a big difference. Not only does it

101、make you look more confident, but it will also make you feel more confident because it will force you to stand tall, but don't arch your back too far.</p><p>　　7 Monitor your speed and volume. When recit

102、ing lines, it's tempting to blaze through them as fast as you can. Be careful not to over exaggerate, though. Slowing down too much will make you sound robotic and will bore your audience. Think about how someone wou

103、ld actually deliver these words. Likewise, be sure to project your voice enough that you can be heard in the back of the theatre, but avoid yelling. Project instead.</p><p>　　8 Play with emphasis. Think abou