@article{oai:ir.kagoshima-u.ac.jp:00004529,
 author = {大和, 高行},
 journal = {地域政策科学研究},
 month = {2016-10-27},
 note = {The aim of this paper is to clarify how Colley Cibber (1671-1757) adopted the wooing scene in his Richard III, fitting for the tastes of the audience in the early 18th century. The comparisons between Cibber's and Shakespeare's versions of Richard III have been often made so far. But there are few which explain differences of both texts, by relating to the theatrical circumstances in the early 18th century. So, this paper tries to make clear both the background reasons for the adaptation and the dramatic effects, focusing on, for example, the decrease of the quantity of Ann's lines and her long speeches, the cut of her spitting at Richard; the newly introduced episode of the Dame of Ephesus, the asides of Richard, Lord Stanley and Tressell, and Ann; and the tears of Richard which are much more emphasized than in Shakespeare. By doing so, we point out that the structure of the Theatre Royal and moral reformation movement in those days functioned as important factors behind Cibber's version, and we make sure that Cibber, by intensifying Richard's tears as proof of his repentance while weakening Ann's anger, succeeded in naturalizing the way in which Ann is wooed quite easily. Cibber's wooing scene can be said to be 'pseudo-sentimental', since Richard succeeded in obtaining Ann's pity, by shedding his false tears. In the 18th c entury, the rising age of English novels, the genre of sentimental novels became popular. It is safely said that Cibber rewrote Shakespeare's Richard III, grasping the tastes of the audience at the beginning of the 18th century, that is, the great favor for sentimental scenes.},
 pages = {211--226},
 title = {コリー・シバー作『リチャード3世』のアン求愛の場面における劇作法},
 volume = {8},
 year = {}
}