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Quantitative Literary Analysis of Aphra Behn’’s Works

為了解決Playwright的問題，作者Runge, Laura L. 這樣論述：

Aphra Behn (1640-1689), prolific and popular playwright, poet, novelist, and translator, has a fascinating and extensive corpus of literature that plays a key role in literary history. The book offers an analysis of all of Behn’s literary output. It examines the author’s use of words in terms of

frequencies and distributions, and stacks the oeuvre in order to read Behn’s word usage synchronically. This experimental analysis of Behn’s literary corpus aims to provide a statistical overview of Behn’s writing and a study of her works according to the logic of the concordance. The analysis demon

strates the interpretive potential of digital corpus work, and it provides a fascinating reading of synchronic patterns in Behn’s writing. The book aims to augment the practice of close-reading by facilitating the rapid moves from full corpus to unique subsets, individual texts, and specific passage

s. It facilitates the connections among works that share verbal structures that would otherwise not register in diachronic reading. Each chapter focuses on one type of writing: poetry, drama, and prose. The chapters begin with an overview of the documents that make up the corpus for the genre (e.g.

the 80 published poems attributed to Behn in her lifetime; 18 plays and 12 prose works). A section on statistical commonplaces follows (length of texts, vocabulary density, and most frequent words). Interesting textual examples are explored in more detail for provocative close readings. The statisti

cs then are contextualized with the general language reference corpus for a discussion of keywords. Each chapter features a unique comparative study that illustrates Behn in a specific context. Each chapter analyzes a specific genre and comparative statistical experiments within the genre. The concl

usion compares all three genres to provide a study of Aphra Behn’s oeuvre as a whole. The discussion is focused through the lens of Behn’s most remarkable words. The keywords for her oeuvre as compared to the literary works in the general language reference (fifteen texts) when the proper names and

stage directions are removed to provide an index of Behn’s characteristic themes and qualities: oh, young, lover, love, marry, charming, heart, gay, soft, goes. Each of these words opens a window on her corpus as a whole. A unique case study of a significant author using new literary methodologies,

this book provides an appealing snapshot of Behn’s whole career informed by deep knowledge of the Restoration era and developments in digital humanities and cultural analytics.

Playwright進入發燒排行的影片

傳統與現代：京劇小生表演之探析──從《再生緣》到《孟麗君》之進程

為了解決Playwright的問題，作者王璽傑 這樣論述：

穿梭傳統與現代之間的「雅音小集」（後簡稱「雅音」）創立於1979年，受到時代變遷的影響，挑戰「京劇現代化」之轉變，是臺灣京劇重要的轉捩點，不僅如此，曾受到傳統思維前輩們的撻伐，他們口中的「叛徒」正是「雅音」新編的創作劇目。《再生緣》是「雅音」創作劇目中以京劇小生應功之劇目，此劇源自於清代女作家陳端生自寫憂憤的彈詞小說，編劇王安祈參照丁西林的話劇本、越劇等，改編為京劇版本。1986年《再生緣》由「雅音」郭小莊、曹復永、孫麗虹主演，首演於國父紀念館；之後又於2017年改編為《孟麗君》，由黃詩雅、溫宇航、王璽傑主演，復演於臺北城市舞臺，《孟麗君》是「國光劇團」復排之劇目，與《再生緣》首演相距三十年

之久。以歷時性觀察，「雅音」當年的創新之舉已成為現代所謂的傳統，從而思考京劇傳統程式化的運用，受到現代化的影響之後，對於京劇小生之表演有何改變，這是值得探究的課題。本文論述核心聚焦在京劇小生受到現代化之影響，在表演手法應用的比較與差異，研究者以《再生緣》與《孟麗君》為例，分析劇中小生表演之詮釋方法、表演功法以及其應用等。主要分為三個面向進行論述，其一、初探「京劇現代化」之轉變，從歷史層面探析，統整「京劇現代化」之歷史脈絡，從中瞭解京劇受到現代化之演變過程；其二、《再生緣》為臺灣當代「京劇現代化」初期之實驗劇目，透過此劇之創作背景、故事情節與人物腳色，進而探討劇中以京劇小生表演有關之三折戲為討論

核心，並分析其中有關京劇小生之表演手法、詮釋人物的方法等；其三，《孟麗君》為三十年後復排之劇目，與原創的《再生緣》有所不同，透過兩劇之間的比較，從中梳理京劇小生受到現代化之影響的改變，進而論其傳統與現代表演方面之差異。透過以上的分析與論述，歸納出京劇小生表演藝術的理論與方法，於現代化的影響之下，演員能夠有因應時代進而自我調整的能力，希冀，此資料能作為當代京劇小生進一步發展的基石與參考之借鑑。

Angela’’s Mixtape / The History of Light

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為了解決Playwright的問題，作者 這樣論述：

Eisa Davis is an award-winning actor, writer, and singer-songwriter working on stage and screen. She was a finalist for the Pulitzer Prize in Drama for her play Bulrusher, and wrote and starred in Angela’s Mixtape, named a best of the year by The New Yorker. Other plays include Ramp (Ruby Prize winn

er), The History of Light (Barrymore nomination), Paper Armor, Umkovu, Six Minutes, Warriors Don’t Cry, Mushroom, and : Girls:: Chance:: Music: . Collaborations include Maze at The Shed, The House on Coco Road, Active Ingredients, Hip Hop Anansi, and Cirque du Soleil’s first ice show, Crystal. Works

in progress include a sound art installation/performance piece entitled The Essentialisn’t, and a musical version of Devil In A Blue Dress. Eisa wrote for both seasons of the Netflix series She’s Gotta Have It, and is creating a limited series based on the memoir by Carlotta Walls LaNier, the young

est member of the Little Rock Nine. Eisa is a 2020 Creative Capital recipient. She was awarded the prestigious Herb Alpert Award in Theatre, and was a resident playwright at New Dramatists, where she won the Helen Merrill Award and the Whitfield Cook Award, among others. She has received fellowships

from Sundance, Yaddo, the MacDowell Colony, Cave Canem, and the Doris Duke, Van Lier and Mellon Foundations. As an actor, she is an Obie Award winner for Sustained Excellence in Performance. Eisa’s recent work includes a microplay by Lynn Nottage in the virtual series Theatre For One, the role of J

une in the musical adaptation of The Secret Life of Bees (AUDELCO award, Lortel nomination), Kings at the Public (Drama League nomination), the 2017 Shakespeare in the Park production of Julius Caesar, and Preludes created by Dave Malloy and Rachel Chavkin, for which she received her second Lucille

Lortel nomination. Other theatre performances include Antigone in Ferguson, Luck of the Irish (Lucille Lortel and AUDELCO nominations), the world premieres of This and The Call, the first revival of The Piano Lesson at Yale Rep (also composer and music director), and the acclaimed Broadway rock mus

ical Passing Strange, captured on film by Spike Lee. Current television work includes Betty, Bluff City Law, God Friended Me, Rise, Condi Rice on The Looming Tower, and Succession.

皮蘭德婁《六個尋找劇作家的劇中人》劇作風格之反思研究

為了解決Playwright的問題，作者郭珈吟 這樣論述：

　　本論文其中研究旨在皮蘭德婁（Pirandello）《六個尋找劇作家的劇中人》（Six Characters in Search of an Author）（以下簡稱《六》劇）劇作，此劇為二十世紀傑出劇作家劇作之一，本論文將研究《六》劇之劇作家如何以自身劇場經歷創作此劇作，並加以賦予此劇其哲學、虛與實辯證、人生哲學與劇場下之反思，皮蘭德婁以戲中戲方式探討劇場以及人生的問題，開啟了戲劇性的怪誕式風格，影響許多劇作家，皮式經由幽默論以怪誕式手法巧妙將其融合進《六》劇裡，將其發揮劇場性作用，本論文將透過文獻研究法以及文本分析檢視皮蘭德婁劇作家風格之反思研究，深入分析《六》劇中之故事性、哲學性、劇

場性。