The aim of this paper is to explore how theatrical imagery used in Flush reflects Woolf's antitheatrical attitude by focusing on its connection with The Barretts of Wimpole Street, one of Besier's plays. As Wright has argued, drama stimulated Woolf to enrich her fiction by using theatrical imagery that reminds us of the concept of theatrum mundi. Wright associates this with Wagner's Gesamtkunstwerk. However, it is highly probable that Woolf used theatrical imagery to resist theater. Such resistance is also a feature of modernist antitheatricalism, which Puchner contrasts with Wagner's theatricalism. Out of fear of the masses, antitheatrical modernists resisted theater, which functioned as a public space. One of their strategies was to write closet drama, as opposed to Wagner, who turned theater into a political arena. Taking the same position as those modernists, Woolf not only wrote Between the Acts in narrative and dramatic forms but also attempted to write dramatic prose without adopting the dramatic form. Furthermore, Woolf's theatrical imagery plays an effective role in making her fiction dramatic. A remarkable example is the imagery of theatrum mundi seen in Flush, which can be partly attributed to Woolf's negative response to The Barretts of Wimpole Street. Theatrical scenes dramatically depicted from Flush's point of view imply that theater can hamper imagination and be employed for propagandistic purposes. We find that this insight of Woolf is further developed in her later works.

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戦後日本の演劇史上に独自の位置を占める秋元松代の戯曲「常陸坊海尊」は、秋元が柳田国男の民俗学とめぐりあうことによって、その創作が可能になったものである。秋元は、柳田によって知らされた海尊伝説という民間伝承の持つ意味と、戦中戦後の学童疎開や人間における「性」の呪縛という現代的な問題とを縦横にからませ、独自で深い演劇空間を作りあげた。それは、当時の秋元のとらえられていた深い苦悩にカタルシスをもたらすと共に、その後の秋元の歩みを決定づけるものとなった。

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In Troilus and Cressida Shakespeare reveals a very considerable indebtedness to Plautus's Miles Gloriosus. In Plautus's play we often come across dialectic expressions, ii. 2. 199, ii. 4. 369, 402, ii. 5. 416-7, 431, iv. 1. 964, iv. 2. 1014 for example, which may be reduced to a formula: A is B and not. One notable instance is found in ii. 6, where Sceledrus, though he sees Philocomasium in her lover's arms, cannot believe that she is Philocomasium and murmurs, "she is and yet she isn't Philocomasium." Similar expressions frequently occur in Shakespeare's Troilus and Cressida, too, i. 2. 79, 98, 99 for example. But the most remarkable one is in v. 2., where Troilus sees his Cressida, in her father's tent, flirting Diomedes but he cannot believe his eyes and says to himself, This is, and is not Cressid." A further influence of Plautus's play can be recognized in. Troilus and Cressida. In iv. 2. of the former, Palaestrio, in co-operation with the maid of the gentleman next door, hoaxes Pyrgopolynices, a baggart soldier into believing that he is the most handsome man in the world and the wife of the gentleman next door has lost her heart to him, and induce him to steal into the gentleman's house only to be caught and flogged as an adulterer. A similar situation occurs in iii. 3. of Shakespeare's play. Agamemnon, Nestor, Ulysses and others unite their efforts in cajoling Ajax, a version of Pyrgopolynes in some respects, into accepting Hector's challenge in combat, by flattering him that he is far nobler and stronger than Achilles. In this scene Shakespeare was indebted to the above mentioned scene from Plautus for the situation and the way the asides are used. Moreover, the sceptical attitude underlying the dialectic expressions mentioned above, permeates the whole of Shakespeare's play and supports its structure. The various conflicting forces are never resolved to the end. This seems to be Shakespeare's indebtedness to Plautus, too.

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