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Abstract

The importance of a stage in plays cannot be ignored. Excessive attention to the stage, however, has become an obstacle to an approach to plays as literature. The appreciation of plays on the stage by an audience is a very different experience from that of a reader of the plays. The former is special and attractive, but passive and limited, whereas the latter asks active, aggressive, and creative intervention as a reader. The reader who is willing to directly communicate with the plays, giving special meanings and new interpretation to every word and line, not only reads the plays, but looks into the imaginary stage of the mind. Plays can be appreciated through pages like other literary genres, but the readers must consider the stage as a center of reading process. Most playwrights deliberately create their works under the premise of performance on the stage, so readers must pay appropriate attention to stage effect. Although the unbalanced emphasis on the stage makes the reading experience seem a worthless substitute for the stage, the existence of the stage can be a discriminating means of a literary approach to the plays. Under such proposition, this article suggests dramatic imagery can be one of the best appreciating methods when plays are read. Dramatic imagery is created by repeated motions, verbs. It gives a very dynamic pattern to the plays and connects most naturally with stage movements and themes. To explore the effects of this imagery, this article also says that Shakespeares plays can be a good guide to appreciating the plays through pages, giving a chance to improve literary ability, to catch up dramatic imagery, and to analyse and understand main themes, structure and styles on the basis of this imagery. Through the recognition of such dynamic patterns of movement as up and down in Richard II, stopping and leaping in Macbeth, and fixity and flux in Anthony and Cleopatra, the meaning of the plays can be expected to extend beyond stages and scripts.