最经典英语文库 萧伯纳最佳戏剧

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作   者:萧伯纳

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ISBN:9787205079659

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简介


萧伯纳是英国现代杰出的现实主义戏剧作家,一生写过很多有名的剧本。这本《萧伯纳*戏剧》收集了其四本*脍炙人口的剧本,包括有《皮格马利翁》、《人类与超级人类》、《伤心旅馆》和《窈窕淑女》。《萧伯纳*戏剧》是一本全英语读本,适合广大英语文学爱好者阅读。
作者简介

【编辑推荐】

有些书不可不熟读,不可不熟知,那就是经典。那是被岁月吹打、淘洗、风化后剩下的菁华。让自己心灵纯净,精神充实的一个熏要方式是阅读经典。文学经典书香四溢,日久弥新。与经典同行,与名家对话,可以感悟作家自我的生命体验,对社会人生的思考以及对爱与美的追求。为生命而阅读,寻一片心灵的栖居地,体悟人的价值与尊严,对培养一个会审美的灵魂,一颗会感悟的心灵有着重要的意义。有些书不可不熟读,不可不熟知,那就是经典。那是被岁月吹打、淘洗、风化后剩下的菁华。让自己心灵纯净,精神充实的一个熏要方式是阅读经典。文学经典书香四溢,日久弥新。与经典同行,与名家对话,可以感悟作家自我的生命体验,对社会人生的思考以及对爱与美的追求。为生命而阅读,寻一片心灵的栖居地,体悟人的价值与尊严,对培养一个会审美的灵魂,一颗会感悟的心灵有着重要的意义。


【前言】
A FOREWORD Things to Think of First
  The efficiency of a book is like that of a man,in one important respect:its attitude toward its subject is the first source of its power.A book may be full of good ideas well expressed,but if its writer views his subject from the wrong angle even his excellent advice may prove to be ineffective.
  This book stands or falls by its authors' attitude toward its subject.If the best way to teach oneself or others to speak effectively in public is to fill the mind with rules,and to set up fixed standards for the interpretation of thought,the utterance of language,the making of gestures,and all the rest,then this book will be limited in value to such stray ideas throughout its pages as may prove helpful to the reader—as an effort to enforce a group of principles it must be reckoned a failure,because it is then untrue.
  It is of some importance,therefore,to those who take up this volume with open mind that they should see clearly at the out-start what is the thought that at once underlies and is builded through this structure.In plain words it is this:
  Training in public speaking is not a matter of externals—primarily;it is not a matter of imitation—fundamentally;it is not a matter of conformity to standards—at all.Public speaking is public utterance,public issuance,of the man himself;therefore the first thing both in time and in importance is that the man should be and think and feel things that are worthy of being given forth.Unless there be something of value within,no tricks of training can ever make of the talker anything more than a machine—albeit a highly perfected machine—for the delivery of other men's goods.So self-development is fundamental in our plan.
  The second principle lies close to the first:The man must enthrone his will to rule over his thought,his feelings,and all his physical powers,so that the outer self may give perfect,unhampered expression to the inner.It is futile,we assert,to lay down systems of rules for voice culture,intonation,gesture,and what not,unless these two principles of having something to say and making the will sovereign have at least begun to make themselves felt in the life.
  The third principle will,we surmise,arouse no dispute:No one can learn how to speak who does not first speak as best he can.That may seem like a vicious circle in statement,but it will bear examination.
  Many teachers have begun with the how.Vain effort!It is an ancient truism that we learn to do by doing.The first thing for the beginner in public speaking is to speak—not to study voice and gesture and the rest.Once he has spoken he can improve himself by self-observation or according to the criticisms of those who hear.
  But how shall he be able to criticise himself?Simply by finding out three things:What are the qualities which by common consent go to make up an effective speaker;by what means at least some of these qualities may be acquired;and what wrong habits of speech in himself work against his acquiring and using the qualities which he finds to be good.
  Experience,then,is not only the best teacher,but the first and the last.But experience must be a dual thing—the experience of others must be used to supplement,correct and justify our own experience;in this way we shall become our own best critics only after we have trained ourselves in self-knowledge,the knowledge of what other minds think,and in the ability to judge ourselves by the standards we have come to believe are right."If I ought," said Kant,"I can."
  An examination of the contents of this volume will show how consistently these articles of faith have been declared,expounded,and illustrated.The student is urged to begin to speak at once of what he knows.Then he is given simple suggestions for self-control,with gradually increasing emphasis upon the power of the inner man over the outer.Next,the way to the rich storehouses of material is pointed out.And finally,all the while he is urged to speak,speak,SPEAK as he is applying to his own methods,in his own personal way,the principles he has gathered from his own experience and observation and the recorded experiences of others.
  So now at the very first let it be as clear as light that methods are secondary matters;that the full mind,the warm heart,the dominant will are primary—and not only primary but paramount;for unless it be a full being that uses the methods it will be like dressing a wooden image in the clothes of a man.
  DALE CARNEGIE
  And
  J.BERG ESENWEIN
  January 1,1915

目录


版权信息
General Preface
PYGMALION
PREFACE TO PYG MALION
ACT I
ACT II
ACT III
ACT IV
ACT V
MAN AND SUPERMAN __ A COMEDY AND A PHILOSOPHY
EPISTLE DEDICATORY TO ARTHUR BINGHAM WALKLEY
ACT I
ACT II
ACT III
ACT IV
HEARTBREAK HOUSE A FANTASIA IN THE RUSSIAN MANNER ON ENGLISH THEMES
HEARTBREAK HOUSE AND HORSEBACK HALL
ACT I
ACT II
ACT III
MAJOR BARBARA
ACT I
ACT II
ACT III
【书摘与插画】
 Is this book for you?
  担负着社会使命的载体
  1856年,萧伯纳出生于一个清贫却要维持“上等人”门面的家庭。父亲酗酒。母亲有一副美好的歌喉,因与丈夫不和,最终到伦敦以教唱歌为生。不快乐的童年,使萧伯纳自幼就体会到“贫穷就是罪恶”。这一理念,成了他最初几个剧本的主题。萧伯纳从母亲那里获得了对音乐的爱好和相关知识,这使他日后成了伦敦最出色的的音乐评论家。1876年,萧伯纳离开爱尔兰来到伦敦。很快,他就目睹了维多利亚时期繁荣的消失。19世纪80年代,一次比一次规模更大的资本主义经济危机,使英国的知识分子受到强烈震撼。伦敦出现了各种标榜社会主义的小团体。他们举办的演讲和辩论,吸引了萧伯纳。他坚信,资本主义社会必须改革。1883年前后,他开始到大英博物馆阅览室阅读马克思的《资本论》。对马克思政治经济学的研究,给他的戏剧创作带来巨大影响。
  事实上,对萧伯纳来说,写作只是他社会活动的一部分,他首先是个社会改良运动参与者。他以戏剧为武器,为推动社会改良而战斗。1892年,萧伯纳完成了第一个剧本《鳏夫的房产》,自此,萧伯纳的戏剧创作持续了近60年,共创作出50个剧本。
  萧伯纳的剧本从一开始就尖锐揭露资本主义社会本质。他在《鳏夫的房产》中提出的问题就是房东的财富来源于哪里。《华伦夫人的职业》(1893)所揭示的主题,也与金钱的肮脏有关。
  萧伯纳创作的第二个阶段是从1903到1913年。在这10年中,他的剧本开始在舞台上获得成功。《巴巴拉少校》和《皮格马利翁》都是这一时期的作品。在《巴巴拉少校》中,萧伯纳对金钱关系做了进一步思考。巴巴拉是个有钱人家的女儿,由于想救济穷人而参加了救世军活动,并升任为“少校”。她原以为救世军是个慈善机构,后来却发现这个机构也是靠资本家资助而存在的。这些资本家中最大的,居然就是自己的父亲,一个专门制造死亡的军火商。萧伯纳令人信服地揭示了救世军和军火商人之间的联系:血腥的金钱关系,主宰了一切。《皮格马利翁》是萧伯纳舞台剧的巅峰之作。一个语言学家在6个月内将一个满口伦敦土话的卖花女,训练成一个谈吐文雅、足以冒充公爵夫人的“上等女人”。资产阶级一直把所受教育的学校、人际交往的圈子以及本人的衣饰、谈吐和口音之类,奉为体面的标志。萧伯纳通过这部作品告诉人们,这一切都完全可以用金钱买到。
  1913年,萧伯纳开始写作《伤心之家》。这个剧本完成于1919年,正值第一次世界大战刚刚结束。作品充满了阴郁的气氛,主题涉及整个欧洲所谓文明社会的幻灭。开始创作时,剧本要表现的故事只是作者的预感,而在完成时,故事却成了现实。剧本里,空袭炸死了两个“最无用的人”:小偷和资本家。然而故事并没有真正结束,舞台上的幕虽然落下了,却一直弥漫着幻灭之感。
  在萧伯纳一生的创作中,他始终秉持这样的信念,即戏剧要承载重要的社会使命。他反对“为艺术而艺术”的文学主张,认为一切伟大的艺术都是“载道”的,戏剧是教育与宣传的工具,其目的不是供人娱乐,而是鞭挞社会,因此,戏剧必须取材于现实生活,作家在处理题材时,须阐明其社会意义。为了表现思想冲突,萧伯纳采用了争辩式对白,这样,在演出过程中就要求观众积极参与到剧中来。
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