學術產出-Theses
Article View/Open
Publication Export
-
題名 渥坦貝克《夜鶯之愛》中之折曲劇場
The Fold of the Theatre in Timberlake Wertenbaker`s The Love of the Nightingale作者 周泓儒
Chou, Hung-Ju Jesse貢獻者 楊麗敏
Yang, Carol L.
周泓儒
Chou, Hung-Ju Jesse關鍵詞 渥坦貝克
《夜鶯之愛》
折曲劇場
折曲
巴洛克折曲
機器
翻譯
多重性
Timberlake Wertenbaker
The Love of the Nightingale
the fold of the theatre
fold
Baroque fold
machine
translation
multiplicity日期 2019 上傳時間 7-Aug-2019 15:43:36 (UTC+8) 摘要 本論文視渥坦貝克的《夜鶯之愛》為折曲劇場，劇中巴洛克機器(Baroque machine)無止無休在觀者之思想平面上製造折曲(fold)與問題。過去批評家多著眼於本劇之女性主義面向，而本論文試圖跳脫以性別對立為主的簡單閱讀，視本劇為開放系統，並借鏡班雅明之翻譯理論與德勒茲之折曲理論，以進一步分析此劇的操作功能(operative function)。劇作家在本劇中藉由裝配多重文本，觸發不同角色間橫跨時間、空間、與文化界線的對話，透過劇場手法像是吟詠隊(chorus)與後設劇場(metatheatre)的縝密部署，劇作家改寫之文本得以共同運作，使折曲不斷被製造，進而複雜化此劇的閱讀維度。巴洛克折曲作為本劇運作的主要力量，使《夜鶯之愛》中所呈現的劇場成為折曲劇場，旨在保留最大程度的多重性(multiplicity)與開放性(openness)，而非終結未來任何可能閱讀視角。
This thesis sees Timberlake Wertenbaker’s The Love of the Nightingale as the fold of the theatre in which the Baroque machine endlessly produces folds and questions on the audience thinking plane. Critics in the past mostly focused on the feminist aspect of the play. This thesis attempts to go beyond the simple reading of the play as gender opposition. It reads the play as an open system and further analyses the operative function of the play through the lenses of Walter Benjamin’s translation theory and Gilles Deleuze’s theory of the Baroque fold. The playwright’s assemblage of multiple texts in the play facilitates the dialogues among different characters across the boundary of space, time, and culture. Such revisions operate together through the delicate employment of theatrical devices such as chorus and metatheatre, and the folds are therefore incessantly produced to complicate the dimensions of the play. With the Baroque fold as the major force that operates in the play, the theatre presented in The Love of the Nightingale is the fold of theatre which aims to maintain the maximum multiplicity and openness of the play instead of finalising any possible readings in the future.參考文獻 Abel, Lionel. Tragedy and Metatheatre. Holmes & Meier, 2003.Aston, Elaine. Feminist Theatre Practice: A Handbook. Routledge, 2005, pp. 126-127.Aristotle. Poetics of Aristotle. Translated by Butcher S. H. Macmillan and Co, 1902.Artaud, Antonin. “Mise En Scène and Metaphysics.” Antonin Artaud: Selected Writings. Edited by Susan Sontag. U of California P, 1988, pp. 227-239.Balstrusch, Burghard. “Translation as Aesthetic Resistance: Paratranslating Walter Benjamin.” Cosmos and History: The Journal of Natural and Social Philosophy, vol. 6, no. 2, 2010, pp. 113-129.Bathtin, M. M. Problems of Dostoevsky’s Poetics. Ed. and trans. Caryl Emerson. U. of Minnesota P, 1984.Benjamin, Walter. "The Task of the Translator." Water Benjamin: Selected Writings Volume 1 1913-1926. Edited by Marcus Bullock and Michael W. Jennings. Translated by Harry Zohn. Harvard UP, 2002, pp. 253-263.Brook, Peter. The Empty Space. Atheneum. 1968.Bush, Sophie. The Theatre of Timberlake Wertenbaker. Bloomsbury, 2013.Carlson, Susan. “Language and Identity in Timberlake Wertenbaker’s Plays.” The Cambridge Companion to Modern British Women Playwrights. Edited by Elaine Aston and Janelle Reinelt. Cambridge UP, 2000, pp. 134-149.Cousin, Geraldine. Women in Dramatic Place and Time. Routledge, 2002, pp. 115-120.Corrigan, Robert W. “The Theatre in Search of a Fix.” The Tulane Drama Review, vol. 5, no. 4, 1961, pp. 21-35.Chi, Wei-Jan. Narrating Modern Drama. Yuan-Liou Publishing Co, 2014.Craig, Lydia. “Politic Silence: Female Choruses in Lochhead’s Medea and Wertenbaker’s The Love of the Nightingale.” Text and Presentation, 2015. Edited by Graley Herren. Mcfarland and Company, 2016, pp. 42-56.Deleuze, Gilles. Foucault. Edited and Translated by Sean Hand, The Athlone Press, 1988.---. The Fold: Leibniz and the Baroque. Translated by Tom Conley, Minnesota UP, 2015.---. Difference and Repetition. Translated by Paul Patton, Columbia UP, 1994.Deleuze, Gilles and Guattari, Félix. A Thousand Plateaus: Capitalism and Schizophrenia. Translated by Brian Massumi, Bloomsbury, 2013.Dymkowski, Christine. “‘The Play’s the Thing’: The Metatheatre of Timberlake Wertenbaker.” Drama on Drama: Dimensions of Theatricality on the Contemporary British Stage. Edited by Nicole Boireau, Macmillan, 1997, pp. 121-135.Eagleton, Terry. Literary Theory: An Introduction. U. of Minnesota P, 1983.Euripides. Euripides: Bacchae. Trans. Richard Seaford. Liverpool UP, 1996.Farrell, Mary Joanne. The Rhetoric of Silence. Diss. McGill U, 1999.Freeman, Sara. “Adaptation after Darwin: Timberlake Wertenbaker’s Evolving Text.” Modern Drama, vol. 45, 2002, pp. 646-662.---. “Timberlake Wertenbaker.” Modern British Playwriting: The 1980s. Edited by Richard Boon and Philip Roberts. Methuen Drama, 2012, pp. 192-219.Gipson-King, Jay M. “Wertenbaker and the Metahistorical: Fracturing History in The Grace of Mary Traverse, Love of the Nightingale and After Darwin.” International Dramaturgy: Translation and Transformation in the Theatre of Timberlake Wertenbaker. Edited by Maya E. Roth and Sara Freeman, P.I.E Peter Lang, 2008, pp. 223-234.Gömceli, Nursen. “The Love of the Nightingale: Radical Feminism.” Timberlake Wertenbaker and Contemporary British Feminist Drama. Academica Press, 2010, pp. 157-201.Goodman, Lizbeth. Contemporary Feminist Theatres: To Each Her Own. Routlege, 2003.Hamilton, Edith. Mythology : Timeless Tales of Gods and Heroes. Little, Brown and Company, 2011.Ho, Ju Ying. "Lines of Flight in Timberlake Wertenbaker`s The Love of the Nightingale." MA thesis, Chengchi U, 2010.Hornby, Richard. Drama, Metadrama, and Perception. Bucknell UP, 1983.Hutcheon, Linda. The Politics of Postmodernism. Routledge, 2002.Innes, Christopher D. Avant Garde Theatre : 1892-1992. Routledge, 1993.Keyssar, Helen. “Drama and the Dialogic Imagination: The Heidi Chronicle and Fefu and Her Friends.” Modern Drama, vol. 34, 1991, pp. 90-106.Ley, Graham. A Short Introduction to the Ancient Greek Theater. U of Chicago P, 1991.Mackenzie, Suzie. “A Play for Life.” The Guardian (Women Section), 4th September 1991.McGlynn, Fred. “Postmodern and Theater.” Postmodernism—Philosophy and the Arts. Edited by Hugh J. Silverman. Routledge, 1990, pp.137-154.Milling, Jane. Modern British Playwriting: The 1980s. Edited by Richard Boon and Philip Roberts. Methuen Drama, 2012.Monrós-Gaspar, Laura. “Voices from the Cave: The Chorus and the Figure of Echo in Timberlake Wertenbaker’s The Love of the Nightingale.” BELLS: Barcelona English Language and Literature Studies, vol. 15, 2006, pp. 1-13.Montgomery, H. C. “Some Later Uses of the Greek Tragic Chorus.” The Classical Journal, vol. 38, no. 3, 1942, pp. 148-160.Rabey, David Ian. “Defining Difference: Timberlake Wertenbaker’s Drama of Language, Dispossession and Discovery.” Modern Drama, vol. 33, 1990, pp. 510-28.Rich, Adrienne. “When We Dead Awaken: Writing as Re-Vision.” College English, vol. 34, no. 1, 1972, pp. 18-30.Roth, E. Maya. “The Philomela Myth as Postcolonial Feminist Theatre.” Feminist Theatrical Revisions of Classic Works: Critical Essays. Edited by Sharon Friedman, Mcfarland, 2009, pp. 42-59.---. “Introduction: Wertenbaker and Translations in Theatre.”International Dramaturgy: Translation and Transformation in the Theatre of Timberlake Wertenbaker. Edited by Maya E. Roth and Sara Freeman. P.I.E Peter Lang, 2008, pp. 11-34.Schiller, Friedrich Vom. “On the Use of the Chorus in Tragedy.” The Dramas of Frederick Schiller: Don Carlos, Mary Stuart, The Maid of Orleans, The bride of Messina. Translated by A. J. Morrison. George Woodfall and Son, 1846, pp. 439-444.Seaford, Richard. Dionysos. Routledge, 2006.Sell, Mike. Avant-garde Performance and Material Exchange: Vectors of the Radical. Palgrave Macmillan, 2011.Shih, Yi-chin. “History and Gender in Timberlake Wertenbaker’s Plays.” Diss. Chengchi U, 2010.Spariosu, Mihai I. Dionysus Reborn. Cornell UP, 1989.Tong, Rosemarie. Feminist Thought: A Comprehensive Introduction. Routledge, 1992.Wagner, Jennifer. “Formal Parody and Metamorphoses of Audience in Timberlake Wertenbaker’s The Love of the Nightingale.” Language and Literature, vol. 31, 1995, pp. 227-254.Walton, J. Michael. The Greek Sense of Theatre: Tragedy Reviewed. Methuen, 1984.Wander, Michelene. Post-War British Drama. Routledge, 2001.Weiner, Albert. “The Function of the Tragic Greek Chorus.” Theater Journal, vol. 32, no. 2, 1980, pp. 205-212.Wertenbake, Timberlake. Timberlake Wertenbaker: Plays I. Faber and Faber, 1996.---. Timberlake Wertenbaker: Plays II. Faber and Faber, 2002.---. Introduction. Timberlake Wertenbaker: Plays I. Faber and Faber, 1996, pp. vii-ix.---. “First Thought on Transforming a Text.” International Dramaturgy: Translation and Transformation in the Theatre of Timberlake Wertenbaker. Edited by Maya E. Roth and Sara Freeman. P.I.E Peter Lang, 2008, pp. 35-40.---. “Dancing with History.” Crucible of Cultures: Anglophone Drama at the Dawn of a New Millennium. Edited by Marc Maufort and Franca Bellsarsi. P.I.E.-Peter Lang, 2003, pp. 17-24.---. “Timberlake Wertenbaker.” Rage and Reason: Women Playwrights on Playwriting, Edited by Heidi Stephenson and Natasha Langridge, Methuen Drama, 1997, pp. 140-141.---. Interview, Writers Revealed. BBC Radio 4, 20 June 1991.Wilson, Ann. “Forgiving History and Making New Worlds: TimberlakeWertenbaker’s Recent Drama.” British and Irish Drama Since 1960. Edited by James Acheson. Palsgrave, 1993, pp. 146-161.Winston, Joe. “Re-Casting the Phaedra Syndrome: Myth and Morality in Timberlake Wertenbaker’s The Love of the Nightingale.” Modern Drama, vol. 38, 1995, pp. 510-19.Witt, Mary Ann Frese. Metatheatre and Modernity: Baroque and Neobaroque. Fairleigh Dickinson UP, 2014. 描述 碩士
國立政治大學
英國語文學系
104551011資料來源 http://thesis.lib.nccu.edu.tw/record/#G1045510111 資料類型 thesis dc.contributor.advisor 楊麗敏 zh_TW dc.contributor.advisor Yang, Carol L. en_US dc.contributor.author (Authors) 周泓儒 zh_TW dc.contributor.author (Authors) Chou, Hung-Ju Jesse en_US dc.creator (作者) 周泓儒 zh_TW dc.creator (作者) Chou, Hung-Ju Jesse en_US dc.date (日期) 2019 en_US dc.date.accessioned 7-Aug-2019 15:43:36 (UTC+8) - dc.date.available 7-Aug-2019 15:43:36 (UTC+8) - dc.date.issued (上傳時間) 7-Aug-2019 15:43:36 (UTC+8) - dc.identifier (Other Identifiers) G1045510111 en_US dc.identifier.uri (URI) http://nccur.lib.nccu.edu.tw/handle/140.119/124623 - dc.description (描述) 碩士 zh_TW dc.description (描述) 國立政治大學 zh_TW dc.description (描述) 英國語文學系 zh_TW dc.description (描述) 104551011 zh_TW dc.description.abstract (摘要) 本論文視渥坦貝克的《夜鶯之愛》為折曲劇場，劇中巴洛克機器(Baroque machine)無止無休在觀者之思想平面上製造折曲(fold)與問題。過去批評家多著眼於本劇之女性主義面向，而本論文試圖跳脫以性別對立為主的簡單閱讀，視本劇為開放系統，並借鏡班雅明之翻譯理論與德勒茲之折曲理論，以進一步分析此劇的操作功能(operative function)。劇作家在本劇中藉由裝配多重文本，觸發不同角色間橫跨時間、空間、與文化界線的對話，透過劇場手法像是吟詠隊(chorus)與後設劇場(metatheatre)的縝密部署，劇作家改寫之文本得以共同運作，使折曲不斷被製造，進而複雜化此劇的閱讀維度。巴洛克折曲作為本劇運作的主要力量，使《夜鶯之愛》中所呈現的劇場成為折曲劇場，旨在保留最大程度的多重性(multiplicity)與開放性(openness)，而非終結未來任何可能閱讀視角。 zh_TW dc.description.abstract (摘要) This thesis sees Timberlake Wertenbaker’s The Love of the Nightingale as the fold of the theatre in which the Baroque machine endlessly produces folds and questions on the audience thinking plane. Critics in the past mostly focused on the feminist aspect of the play. This thesis attempts to go beyond the simple reading of the play as gender opposition. It reads the play as an open system and further analyses the operative function of the play through the lenses of Walter Benjamin’s translation theory and Gilles Deleuze’s theory of the Baroque fold. The playwright’s assemblage of multiple texts in the play facilitates the dialogues among different characters across the boundary of space, time, and culture. Such revisions operate together through the delicate employment of theatrical devices such as chorus and metatheatre, and the folds are therefore incessantly produced to complicate the dimensions of the play. With the Baroque fold as the major force that operates in the play, the theatre presented in The Love of the Nightingale is the fold of theatre which aims to maintain the maximum multiplicity and openness of the play instead of finalising any possible readings in the future. en_US dc.description.tableofcontents Table of ContentsAcknowledgement iiiChinese Abstract viiEnglish Abstract ixChapter 1 Introduction 111.1 Critical Background 131.2 Methodological Approach 221.3 Chapter Organisation 24Chapter 2 The Fold of the Theatre 272.1 The Love of the Nightingale and Translation Theory 282.2 Deleuze’s Baroque Fold 352.3 The Fold of the Theatre: the Repetition of the Fold 48Chapter 3 Wertenbaker’s Transformative Chorus Device in the Nightingale 593.1 The Origin of the Greek Chorus 603.2 The Male Chorus: The Disruption of Univocality 633.3 The Female Chorus: Silence as the Voice of Difference 743.4 Conclusion 82Chapter 4 Metatheatre and the Baroque Machine with Unlimited Openness 854.1 In Search of a Fix for Metatheatre 884.2 The Multiplicity of Love 944.3 Philomele’s Puppet Theatre and the Baroque Machine 1064.4 Conclusion 115Chapter 5 Conclusion 117Works Cited 127 zh_TW dc.format.extent 10243090 bytes - dc.format.mimetype application/pdf - dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G1045510111 en_US dc.subject (關鍵詞) 渥坦貝克 zh_TW dc.subject (關鍵詞) 《夜鶯之愛》 zh_TW dc.subject (關鍵詞) 折曲劇場 zh_TW dc.subject (關鍵詞) 折曲 zh_TW dc.subject (關鍵詞) 巴洛克折曲 zh_TW dc.subject (關鍵詞) 機器 zh_TW dc.subject (關鍵詞) 翻譯 zh_TW dc.subject (關鍵詞) 多重性 zh_TW dc.subject (關鍵詞) Timberlake Wertenbaker en_US dc.subject (關鍵詞) The Love of the Nightingale en_US dc.subject (關鍵詞) the fold of the theatre en_US dc.subject (關鍵詞) fold en_US dc.subject (關鍵詞) Baroque fold en_US dc.subject (關鍵詞) machine en_US dc.subject (關鍵詞) translation en_US dc.subject (關鍵詞) multiplicity en_US dc.title (題名) 渥坦貝克《夜鶯之愛》中之折曲劇場 zh_TW dc.title (題名) The Fold of the Theatre in Timberlake Wertenbaker`s The Love of the Nightingale en_US dc.type (資料類型) thesis en_US dc.relation.reference (參考文獻) Abel, Lionel. Tragedy and Metatheatre. Holmes & Meier, 2003.Aston, Elaine. Feminist Theatre Practice: A Handbook. Routledge, 2005, pp. 126-127.Aristotle. Poetics of Aristotle. Translated by Butcher S. H. Macmillan and Co, 1902.Artaud, Antonin. “Mise En Scène and Metaphysics.” Antonin Artaud: Selected Writings. Edited by Susan Sontag. U of California P, 1988, pp. 227-239.Balstrusch, Burghard. “Translation as Aesthetic Resistance: Paratranslating Walter Benjamin.” Cosmos and History: The Journal of Natural and Social Philosophy, vol. 6, no. 2, 2010, pp. 113-129.Bathtin, M. M. Problems of Dostoevsky’s Poetics. Ed. and trans. Caryl Emerson. U. of Minnesota P, 1984.Benjamin, Walter. "The Task of the Translator." Water Benjamin: Selected Writings Volume 1 1913-1926. Edited by Marcus Bullock and Michael W. Jennings. Translated by Harry Zohn. Harvard UP, 2002, pp. 253-263.Brook, Peter. The Empty Space. Atheneum. 1968.Bush, Sophie. The Theatre of Timberlake Wertenbaker. Bloomsbury, 2013.Carlson, Susan. “Language and Identity in Timberlake Wertenbaker’s Plays.” The Cambridge Companion to Modern British Women Playwrights. Edited by Elaine Aston and Janelle Reinelt. Cambridge UP, 2000, pp. 134-149.Cousin, Geraldine. Women in Dramatic Place and Time. Routledge, 2002, pp. 115-120.Corrigan, Robert W. “The Theatre in Search of a Fix.” The Tulane Drama Review, vol. 5, no. 4, 1961, pp. 21-35.Chi, Wei-Jan. Narrating Modern Drama. Yuan-Liou Publishing Co, 2014.Craig, Lydia. “Politic Silence: Female Choruses in Lochhead’s Medea and Wertenbaker’s The Love of the Nightingale.” Text and Presentation, 2015. Edited by Graley Herren. Mcfarland and Company, 2016, pp. 42-56.Deleuze, Gilles. Foucault. Edited and Translated by Sean Hand, The Athlone Press, 1988.---. The Fold: Leibniz and the Baroque. Translated by Tom Conley, Minnesota UP, 2015.---. Difference and Repetition. Translated by Paul Patton, Columbia UP, 1994.Deleuze, Gilles and Guattari, Félix. A Thousand Plateaus: Capitalism and Schizophrenia. Translated by Brian Massumi, Bloomsbury, 2013.Dymkowski, Christine. “‘The Play’s the Thing’: The Metatheatre of Timberlake Wertenbaker.” Drama on Drama: Dimensions of Theatricality on the Contemporary British Stage. Edited by Nicole Boireau, Macmillan, 1997, pp. 121-135.Eagleton, Terry. Literary Theory: An Introduction. U. of Minnesota P, 1983.Euripides. Euripides: Bacchae. Trans. Richard Seaford. Liverpool UP, 1996.Farrell, Mary Joanne. The Rhetoric of Silence. Diss. McGill U, 1999.Freeman, Sara. “Adaptation after Darwin: Timberlake Wertenbaker’s Evolving Text.” Modern Drama, vol. 45, 2002, pp. 646-662.---. “Timberlake Wertenbaker.” Modern British Playwriting: The 1980s. Edited by Richard Boon and Philip Roberts. Methuen Drama, 2012, pp. 192-219.Gipson-King, Jay M. “Wertenbaker and the Metahistorical: Fracturing History in The Grace of Mary Traverse, Love of the Nightingale and After Darwin.” International Dramaturgy: Translation and Transformation in the Theatre of Timberlake Wertenbaker. Edited by Maya E. Roth and Sara Freeman, P.I.E Peter Lang, 2008, pp. 223-234.Gömceli, Nursen. “The Love of the Nightingale: Radical Feminism.” Timberlake Wertenbaker and Contemporary British Feminist Drama. Academica Press, 2010, pp. 157-201.Goodman, Lizbeth. Contemporary Feminist Theatres: To Each Her Own. Routlege, 2003.Hamilton, Edith. Mythology : Timeless Tales of Gods and Heroes. Little, Brown and Company, 2011.Ho, Ju Ying. "Lines of Flight in Timberlake Wertenbaker`s The Love of the Nightingale." MA thesis, Chengchi U, 2010.Hornby, Richard. Drama, Metadrama, and Perception. Bucknell UP, 1983.Hutcheon, Linda. The Politics of Postmodernism. Routledge, 2002.Innes, Christopher D. Avant Garde Theatre : 1892-1992. Routledge, 1993.Keyssar, Helen. “Drama and the Dialogic Imagination: The Heidi Chronicle and Fefu and Her Friends.” Modern Drama, vol. 34, 1991, pp. 90-106.Ley, Graham. A Short Introduction to the Ancient Greek Theater. U of Chicago P, 1991.Mackenzie, Suzie. “A Play for Life.” The Guardian (Women Section), 4th September 1991.McGlynn, Fred. “Postmodern and Theater.” Postmodernism—Philosophy and the Arts. Edited by Hugh J. Silverman. Routledge, 1990, pp.137-154.Milling, Jane. Modern British Playwriting: The 1980s. Edited by Richard Boon and Philip Roberts. Methuen Drama, 2012.Monrós-Gaspar, Laura. “Voices from the Cave: The Chorus and the Figure of Echo in Timberlake Wertenbaker’s The Love of the Nightingale.” BELLS: Barcelona English Language and Literature Studies, vol. 15, 2006, pp. 1-13.Montgomery, H. C. “Some Later Uses of the Greek Tragic Chorus.” The Classical Journal, vol. 38, no. 3, 1942, pp. 148-160.Rabey, David Ian. “Defining Difference: Timberlake Wertenbaker’s Drama of Language, Dispossession and Discovery.” Modern Drama, vol. 33, 1990, pp. 510-28.Rich, Adrienne. “When We Dead Awaken: Writing as Re-Vision.” College English, vol. 34, no. 1, 1972, pp. 18-30.Roth, E. Maya. “The Philomela Myth as Postcolonial Feminist Theatre.” Feminist Theatrical Revisions of Classic Works: Critical Essays. Edited by Sharon Friedman, Mcfarland, 2009, pp. 42-59.---. “Introduction: Wertenbaker and Translations in Theatre.”International Dramaturgy: Translation and Transformation in the Theatre of Timberlake Wertenbaker. Edited by Maya E. Roth and Sara Freeman. P.I.E Peter Lang, 2008, pp. 11-34.Schiller, Friedrich Vom. “On the Use of the Chorus in Tragedy.” The Dramas of Frederick Schiller: Don Carlos, Mary Stuart, The Maid of Orleans, The bride of Messina. Translated by A. J. Morrison. George Woodfall and Son, 1846, pp. 439-444.Seaford, Richard. Dionysos. Routledge, 2006.Sell, Mike. Avant-garde Performance and Material Exchange: Vectors of the Radical. Palgrave Macmillan, 2011.Shih, Yi-chin. “History and Gender in Timberlake Wertenbaker’s Plays.” Diss. Chengchi U, 2010.Spariosu, Mihai I. Dionysus Reborn. Cornell UP, 1989.Tong, Rosemarie. Feminist Thought: A Comprehensive Introduction. Routledge, 1992.Wagner, Jennifer. “Formal Parody and Metamorphoses of Audience in Timberlake Wertenbaker’s The Love of the Nightingale.” Language and Literature, vol. 31, 1995, pp. 227-254.Walton, J. Michael. The Greek Sense of Theatre: Tragedy Reviewed. Methuen, 1984.Wander, Michelene. Post-War British Drama. Routledge, 2001.Weiner, Albert. “The Function of the Tragic Greek Chorus.” Theater Journal, vol. 32, no. 2, 1980, pp. 205-212.Wertenbake, Timberlake. Timberlake Wertenbaker: Plays I. Faber and Faber, 1996.---. Timberlake Wertenbaker: Plays II. Faber and Faber, 2002.---. Introduction. Timberlake Wertenbaker: Plays I. Faber and Faber, 1996, pp. vii-ix.---. “First Thought on Transforming a Text.” International Dramaturgy: Translation and Transformation in the Theatre of Timberlake Wertenbaker. Edited by Maya E. Roth and Sara Freeman. P.I.E Peter Lang, 2008, pp. 35-40.---. “Dancing with History.” Crucible of Cultures: Anglophone Drama at the Dawn of a New Millennium. Edited by Marc Maufort and Franca Bellsarsi. P.I.E.-Peter Lang, 2003, pp. 17-24.---. “Timberlake Wertenbaker.” Rage and Reason: Women Playwrights on Playwriting, Edited by Heidi Stephenson and Natasha Langridge, Methuen Drama, 1997, pp. 140-141.---. Interview, Writers Revealed. BBC Radio 4, 20 June 1991.Wilson, Ann. “Forgiving History and Making New Worlds: TimberlakeWertenbaker’s Recent Drama.” British and Irish Drama Since 1960. Edited by James Acheson. Palsgrave, 1993, pp. 146-161.Winston, Joe. “Re-Casting the Phaedra Syndrome: Myth and Morality in Timberlake Wertenbaker’s The Love of the Nightingale.” Modern Drama, vol. 38, 1995, pp. 510-19.Witt, Mary Ann Frese. Metatheatre and Modernity: Baroque and Neobaroque. Fairleigh Dickinson UP, 2014. zh_TW dc.identifier.doi (DOI) 10.6814/NCCU201900598 en_US
