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時間：2003年7月26日14:00--17:00
地點：台北市新生南路紫藤蘆
主題：1979
( 頁187-234 )
流程：
Drama
1. Williams' professional
field at the university: Drama
2. drama 與 theatre 的不同
挑戰角色vs.一個場域
There always seemed to be a conflict between the potential of drama
as a new or collective mode and the particular formations of the
theatre which blocked or reduced it.
3. Drama from Ibsen to Eliot 發表於 1947-8
使用practical criticism （＊ Richards的大學生實驗文學評論）
4. distinction between practical criticism
Leavis
It is a crucial mistake to equate the practical-critical procedure
with the Leavis approach to literature.
5. Richards's practical criticism (pp.193)
(1) anti-ideological in a very crucial sense: it exposed the disparity
between the cultural pretensions of a class and its actual capacities.
(2) practice in opposition to theory.
6. Drama from Ibsen to Eliot "Introduction"(pp.192)
three tendencies
(1)採用Richards的 practical criticism
(2) stress on community and sensibility (derive from Leavis)
(3) develop a generic theory of naturalism as a form.
7. English practical criticism
Richards( Eagelton )
American new Criticism
Literary structuralism today
8. Reject the label of 'Left-Leavisism' (＊Eagelton所加)
9. Ibsen's A Doll's House
(1) dramatized a statement about the situation of woman in bourgeois
society.
(2) only a limited cure for this deficiency.
not at all of individualist liberation, it is what I later called
liberal tragedy. Nora slams the door, what happens? There is a radical
lack of belief in the liberal project of liberation.
A very temporary resolution.
(3) 不論『結果』，Ibsen重要在於（Ｗilliams 稱他為 a hidden conservatism）
power creation of the forms of this blockage of the project of liberation.
10. 加入 The Irish Dramatists: Yeats, O'casey, Joyce.
11. naturalism與realism關係密切。
兩者都要求真實地描繪人生。但，自然主義者堅持藝術必需採用科學的方法，也必需證明所有的行為都取決於遺傳和環境。
12. 自然主義： Ibsen , Eliot
表現主義(expressionism): 比自然主義有更多的社會、歷史經驗視野。
13. 自然主義的困難：
(1) All sorts of problems of subjectivity, or of the representation
of thought, could be handled only in a very awkward fashion.
(2) Unable to move outwards to society and history.
但自然主義的original project (opposition to super-naturalism)
(a) a stress on the secular
(b) on the contemporary
(c) on the scientific procedures of natural history.
(3) 自然主義 a movement with bourgeois society and therefore, the environment
that was created defined the center of society as the family and
private life.（＊如Ibsen 的 A Doll's House）
(4) 對比之下，realism ( Marxist definition) starts talking
about society or history, instead of the bourgeois notion of environment.
That is in itself an advance, because it introduces a necessary
mobility.
14. Eliot-Yeats attack on naturalism (pp.206)
For what they were opposing was not the technical restrictions of
naturalism, although they could speak eloquently enough about them.
What Yeats and Eliot were trying to accomplish was a restoration
in the real sense-a return behind
naturalism to a pre-secular and metaphysical conception of relationship
and character. Their aim was a dramatic counter-revolution.
15. Eliot的mistake:
his attempt to find an all-purpose dramatic verse which could function
as a substitute for conversation. All the different levels of exchange
and interrelationship cannot be contained with a single rhythm.
16. Song 比 Verse 更接近 ordinary speech
（＊參考今天舞台百老匯與音樂劇電影，包括台灣歌仔戲）
17. Modern Tragedy 寫作於Drama from Ibsen to Eliot修訂為Drama
from Ibsen to Brecht之間
(1) 論及Drama , Novels, Philosophy and Political history.
(2) simply a response to the shock of returning Cambridge（比Williams
自己當學生時，還更加ideological form ）
(3)討論悲劇的本質（＊如Aristotle 所說的淨化人心）
18.
(1)何以改版增加Brecht
(2)稱Brecht broke with naturalism(只是passion與a technical sence) by
introducing history and producing an action.
(3)Williams: 但Brecht retained the central knot of the naturalist
structure of feeling. Remained the unmodified pair of the isolated
individual and the overwhelming society ranged against the individual.
Brecht was committed to a revolutionary socialism, he could never
actually represent any positive social liberalism in his plays.
19. Williams對Brecht的最早印象
政治戲劇家
曾在30年代與納粹德國交流
資產階級利用Brecht攻擊realism（＊特別是僵固的社會主義寫實樣板戲）
20. Lukacs定義realism(pp.220):
綜合個人與社會，但naturalism 是 decadent successor. 其著作《小說理論》、《現實主義論》。
21. 1848年是轉折點。（＊資產階級排拒中下階級的要求）
22. theatre drama film camera cinema movie television
（＊機械複製時代）
23. 製作影片與電視須有一定資金，漸會由資產階級與官僚體系掌控。(pp.224)
（＊如今天台灣的國片輔導金制度與財團控制媒體情形）
24. Drama in Performance: 商業壓力
創作者原著意含常被修改
（＊愛爾蘭『舞王』與百老匯歌劇Cats即將來台）
25. Williams: 早期蘇聯電影優於義大利新寫實 ( but sympathetic to
)
26. 戰後美國影片
好來塢
Orrom: Singing in the Rain
電視發展
Television: Technology and Cultural Form
26. 雖然需要時間，但須隨時意識the nature of Capitalist film production （＊但令人遺憾的是，這樣的nature
卻愈來愈大行其道，007電影系列、鐵達尼號的行銷手法等等。）
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