شرح وترجمة المحاضرة العاشرة للأدب الإنجليزي

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المحاضرة 10

THE SHAKESPEAREAN THEATER

Before Shakespeare's time and during his boyhood, groups of actors performed wherever they could—in halls, courts, courtyards, and any other available open spaces. In 1574, however, when Shakespeare was ten years old, the Common Council passed a law requiring plays and theaters in London to be licensed. In 1576, actor and future Lord Chamberlain's Man, James Burbage, built the first permanent theater called simply The Theatre outside London’s city walls. Thereafter, many more theaters were established around the city of London, including the Globe Theatre in which most of Shakespeare's plays were performed. (The image shows an illustration of the Curtain Theater, which was built some 200 yards away from The Theater and also housed many Shakespearean plays.)

وصف المسرح ‘ مهم

Elizabethan theaters were generally built after the design of the original Theatre. Built of wood, these theaters comprised three rows of seats in a circular shape, with a stage area on one side of the circle. The audience's seats and part of the stage were roofed, but much of the main stage and the area in front of the stage was open to the elements sun as rain. About 1,500 audience members could pay an extra fee to sit in the covered seating areas, while about 800 "groundlings" (standing
spectators) paid less to stand in the open area before the stage.


standing spectators "groundlings" = متفرجون يدفعون القليل من المال لمشاهدة المسرحية

The stage itself was divided into three levels: a main stage area with doors at the rear and a curtained area in the back for "discovery scenes"; an upper, canopied (decorated cover with clothes) area called "heaven" for balcony scenes; and an area under the stage called "hell," accessed by a trap door in the stage. There were dressing rooms located behind the stage, but no curtain in the front of the stage, which meant that scenes had to flow into each other and "dead bodies" had to be dragged off.
شرح :
المسرح بذاته مقسم الى 3 مستويات
- المنطقة الرئيسية للمسرح : يحتوي على ابواب خلفية و بستارة لكشف المشاهد " بمعنى
( بعض الاحيان يريدون عمل احداث مفاجِئة ف لذلك يخرجون الممثلين من وراء الأبواب الخلفية للمسرح ومن بين الستارة)
- المنطقة االمزينة والمغطاة بالملابس : تسمى المنطقة " السماء " وهي شرفة لمشاهدة المسرح والمشاهد < يعني النآس الي يجلسون في المنطقة العليه لـ المسرح > وهي للنآس المهمين
وطبعا المنطقة الي تحت مع المسرح ومفتوحه تسمى " الجحيم " وهي للنآس الغير المهمين وللذين يدفعون القليل من المال

- غرفة لتغير الملابس خلف المسرح
but no curtain in the front of the stage, which meant
يقصد بانه لاتوجد ستارة اما المسرح اي ان المشاهد يجب ان تكون متسلسة مشهد تلو الأخر

Performances took place during the day, using natural light from the open center of the theater. Since there could be no dramatic lighting and there was very little scenery or props (The objects and furniture used in the play), audiences relied on the actors' lines and stage directions to supply the time of day and year, as well as the weather, location, and mood. Shakespeare's plays convey such information masterfully. In Hamlet, for example, the audience learns within the first ten lines of dialogue where the scene takes place ("Have you had quiet guard?"), what time of day it is ("'Tis now struck twelve"), what the weather is like ("'Tis bitter cold"), and what mood the characters are in ("and I am sick at heart").

شرح ‘
- المسرح يستخدم انارة طبيعية لانه مسررح مفتوح غير مغطاة ‘
- الجماهير يعتمدون على الممثلين ويعرفون من خلالهم ‘ شكل المشهد من ناحية
الوقت – الطقس - المكان – المزاج
شكسبير بلغ ذلك في توصيل المعلومات ببراعة في In Hamlet

One important difference between plays written in Shakespeare's time and those written today is that Elizabethan plays were published after their performances and sometimes even after their authors' deaths. The scripts were in many ways a record of what happened on stage during performances, rather than directions for what should happen. Actors were allowed to suggest changes to scenes and dialogue and had much more freedom with their parts than contemporary actors. A scene illustrative of such freedom occurs in Hamlet: a crucial passage revolves around Hamlet writing his own scene to be added to a play in order to ensnare (gain power over somebody by using dishonest means) his murderous uncle.

الشرح ’
- فارق مهم بين مسرحيات شكسبير ‘ ان مسرحية اليزابيثين كانت تنشر بعد ادئهم للمسرحيه
وبعض الأوقات تنشر حتى بعد وفاة مولفيها
- الممثلين مسموح لهم للإقتراح في تغير المحادثة من خلال المشهد ولهم الكثير من الحريه في ذلك
- مشهد توضيحي للحرية الممثلين في تغير النص في ( In Hamlet )
gain power over somebody by using dishonest means

Shakespeare's plays were published in various forms and with a wide range of accuracy during his time. The discrepancies between versions of his plays from one publication to the next make it difficult for editors to put together authoritative editions of his works. Plays could be published in large anthologies in folio format (the First Folio of Shakespeare's plays contains 36 plays) or smaller quartos. Folios were so named because of the way their paper was folded in half to make a large volume. Quartos were smaller, cheaper books containing only one play. Their paper was folded twice, making four pages. In general, the First Folio is considered to be more reliable than the quartos.

الشرح‘
مسرحيات شكسبير تنشر بإشكال مختلفة وبدقة واسعه
- التناقضات بين إصدارات مسرحياته من منشور الى الاخر يجعله صعب للمحريرن لوضع حقوقه عليهآ
- المسرحيات يمكن ان تنشر في مختارت كبيره من الفايلو
- الفايلو الأولى لمسرحية شكسبير تحتوي على 36 ممثل
- الفايلو لها العديد من الأسماء بسبب شكل الورقة المطوية ( كنت تنطوي من النصف لتجعل حجمها اكبر )
- Quartos الأصغر من الفايلو والأرخص وتحتوي على ممثل واحد ( و اوراقها تنطوي مرتين لتجعلها اربع اوراق )
- الفايلو الأولى يجب ان تكون الأكثر موثوقية من Quartos

Although Shakespeare's language and classical references seem archaic (old) to many readers today, they were accessible to his contemporary audiences. His viewers came from all classes and his plays appealed to all kinds of sensibilities, from "highbrow" accounts of kings and queens to the "lowbrow" blunderings of clowns and servants. Even utterly tragic plays like King Lear or Macbeth contain a clown or fool to provide comicrelief and to comment on the events of the play.

الشرح ‘

- مراجع ولغة شكسبير من الطراز القديم للعديد من قرآئه هذه الأيام
- متابعين شكسبير يأتون له من كل الطبقات سوا من طبقة highbrowالي تختص بالملوك والملكات او بطقةlowbrow النآس العاديه
- في الأحداث الترادجيه او المحزنه او المسأوية يمثلون الملوك مثل ملك لير او ماكبث تحتوي على مهرج او مجنون ليوفر حس الفكاهه وللتعليق على احداث المسرحيه

- Audiences would also have been familiar with his numerous references to classical mythology and literature, since these stories were staples (an essential part) of the Elizabethan knowledge base. And yet, despite such a universal appeal, Shakespeare’s plays also expanded on the audience’s vocabulary. Many phrases and words that we use today—such as "amazement," "in my mind's eye," and "the milk of human kindness," to name only a few—were coined by Shakespeare. His plays contain indeed a greater variety and number of words than almost any other work in the English language.
شرح ‘

- ان الجمهورأيضاكانوا على درايةكثير من مراجعه فَ هو كان يشمل جميع المراجع في مسرحياته
لانه يراعي النآإس الذين يأتون اليه من جميع الطبقات
مسرحيات شكسبير تشمل ايضا العديد من العبارات والكلمات التي نستخدمها اليوم مثل
"amazement," "in my mind's eye," and "the milk of human kindness," to name only a few
جميعا صاغها وكتبها شكسبير
. مسرحياته تتضمن في الواقع أكبر مجموعة متنوعة وعدد من الكلمات من أي عمل آخر تقريبا في اللغة الإنجليزيةفهو طور من الكلمات الإنجليزيه

About Macbeth :

Legend says that Macbeth was written in 1605 or 1606 and performed at Hampton Court in 1606 for King James I and his brother-in-law, King Christian of Denmark. Whether it was first performed at the royal court or was performed at the Globe theatre, there can be little doubt that the play was intended to please the King, who had recently become the patron of Shakespeare's theatrical company. We note, for example, that the character of Banquo—the legendary root of the Stuart family tree—is depicted very favorably. Like Banquo, King James was a Stuart. The play is also quite short, perhaps because Shakespeare knew that James preferred short plays. And the play contains many supernatural elements that James, who himself published a book on the detection and practices of witchcraft, would have appreciated. Even something as minor as the Scottish defeat of the Danes may have been omitted to avoid offending King Christian.

The material for Macbeth was drawn from Raphael Holinshed's Chronicles of England, Scotland, and Ireland (1587). Despite the play’s historical source, however, the play is generally classified as tragedy rather than a history. This derives perhaps from the fact that the story contains many historical fabrications—including the entire character of Banquo, who was invented by a 16th-century Scottish historian in order to validate the Stuart family line. 　In addition to such fictionalization, Shakespeare took many liberties with the original story, manipulating the characters of Macbeth and Duncan to suit his purposes. In Holinshed's account, Macbeth is a ruthless and valiant leader who rules competently after killing Duncan, whereas Duncan is portrayed as a young and soft-willed man. Shakespeare draws out certain aspects of the two characters in order to create a stronger sense of polarity. Whereas Duncan is made out to be a venerable and kindly older king, Macbeth is transformed into an indecisive and troubled young man who cannot possibly rule well.
Macbeth is certainly not the only play with historical themes that is full of fabrications. Indeed, there are other reasons why the play is considered a tragedy rather than a history. One reason lies in the play's universality. Rather than illustrating a specific historical moment, Macbeth presents a human drama of ambition, desire, and guilt. Like Hamlet, Macbeth speaks soliloquies that articulate the emotional and intellectual anxieties with which many audiences identify easily. For all his lack of values and "vaulting ambition," Macbeth is a character who often seems infinitely real to audiences. This powerful grip on the audience is perhaps what has made Macbeth such a popular play for centuries of viewers.
Given that Macbeth is one of Shakespeare's shortest plays, some scholars have suggested that scenes were excised (removed) from the Folio version and subsequently lost. There are some loose ends and non-sequiturs* in the text of the play that would seem to support such a claim. If scenes were indeed cut out, however, these cuts were most masterfully done. After all, none of the story line is lost and the play remains incredibly powerful without them. In fact, the play's length gives it a compelling, almost brutal, force. The action flows from scene to scene, speech to speech, with a swiftness that draws the viewer into Macbeth's struggles. As Macbeth's world spins out of control, the play itself also begins to spiral towards to its violent end.

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ياليل أبو فانوس

معلوماااات كثيييير الله يعين

الله يعطيك العافية ويجزاك خير

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نورتوآ فديتكم
والمحاضرة متتعه كثير
بس خربها يومه بدأ يتكلم عن ماكبث
الله يعيناآإ

[نغم الانجلش]

حلم دمعه ماترجمتي about macbeth

[Amo0ora^_^]

تسسلم آنآملك يآعسسسل على الترجمه والملخصصص

ربي لآيحرمك آجرهآإ ,, وآلله يجزآك كل خــيرررر

مووفقه يآرب

^_^

[حلم دمعه]

ايه ماحبيت اترجمها لاني متلخبطه فيها كثير
حاولت بس افهمها .. والدكتوررر ماركز كثير فيهاآ
يعني بس يبيلها قرايه وفهم
الي ملونته احس هذآإ مهم نعرفه اما الباقي فهم ويتتابع احداث وكلام بايخ يسد النفس

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امورتي لبى قلبك والله
الله يوفقنآإ ويسسسهل علينا

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مشكورة يوفقك ربي دنيا وآخره