[ اللغة الانجليزية ] : بلييز محتاجه ترجمه لـ مسرحيـة The Rising Of The Moon

[maziona]

السلام عليكم ..,

بنات لو سمحتوو الي عندها ترجمة هذي المسرحيه تحطها هناا .. لأني دورت وكل الروابط الي شفتها غلط :(

وبكره الاختبار وماعطتنا لها شي الميس وابغى اقراها عشان افهمها ممكن تجيب كوتيشن أو شي ...,


بلييييييييز بناات .. و شكرآآ ...,

[never give up]

هاذي معلومات انشا الله تفيدك مالقيت ترجمه
The main theme:
In THE RISING OF THE MOON, one sees the deep conflict between the hearts of the Irish people, even those hired as policemen (who also longed secretly, in their heart of hearts, for freedom, as often as not), and their duty to maintain the status quo, with all the English gold and power and "good common sense" behind it. In this story, it is the songs of and Irish bard which catch the Sergeant’s heart, in spite of himself, as he keeps watch to capture an escaped political prisoner--as music has always caught the human heart, and nowhere more than among the Irish. The outcome is totally unpredictable, and yet the consequence was, eventually, the successful fight for freedom, and the Irish Republic.



Lady Gregory's one-act play The Rising of the Moon (1907) is a political play. It is set in the days of the Fenian rebels of the late 1860s, and it was written at a time when the next generation of militants had begun to organise in secret and to prepare for the rising which came in 1916.

The Rising of the Moon was first produced by the Irish National Theatre on March 9, 1907. At the time, the National Theatre was still reeling from the public reaction to John Millington Synge’s The Playboy of the Western World. When Playboy opened in January of that year, it was roundly condemned by Irish nationalists but received a generally favorable reception from the politically conservative Anglo-Irish community. Rising received almost the opposite reaction. The Anglo-Irish press criticized Gregory’s play for presenting Irish police officers as bumbling and easily corrupted, while nationalist papers complimented the play’s patriotic spirit. The reception of Synge’s and Gregory’s plays highlights the fact that, in 1907, the Irish National Theatre essentially served two audiences: a nationalist audience who cheered any attack on British authority but were sensitive to any criticism of the Irish people, and an Anglo-Irish audience whose sensibilities were almost precisely the reverse.

Unlike Synge’s play, however, which continued to provoke the ire of nationalists for years after its premiere, Gregory’s play escaped its initially cold reception and quickly gained popularity among nationalists and Anglo-Irish alike. Indeed, despite the fact that the play concludes with a member of the Royal Irish Constabulary allowing a suspected revolutionary to escape, the real RIC happily supplied the National Theatre with the uniforms they needed to stage the play until the outbreak of revolution in 1916. The ability of Gregory’s play to appeal to two groups with diametrically opposed political views speaks to the skill of the author, for while The Rising of the Moon does, in fact, promote the subversion of British authority, it does so in a way that deliberately makes its revolutionary spirit palatable to the moderate tastes of an Anglo-Irish audience.

Like most of Gregory’s plays, the plot of The Rising of the Moon is deceptively simple. On the docks of an unnamed seaside town, a police Sergeant awaits the arrival of an escaped revolutionary, whom he believes will try to flee the town by boat that evening. While the Sergeant waits, the revolutionary (identified in the script only as “Man”) approaches, disguised as an old ballad singer. The Sergeant doesn’t recognize the revolutionary, and the Man takes advantage of this by offering to sit with the Sergeant and help him look for his quarry. As the two men sit, the Man sings a few nationalist ballads, which causes the Sergeant to recall his boyhood days in Ireland and the revolutionary sympathies he held in those days. This reminiscing makes the Sergeant question his role as an officer of English law and, when the Man’s true identity is finally revealed, the Sergeant finds that he cannot bring himself to arrest him. The play ends with the Sergeant actually helping the Man escape.

The origin of this little patriotic play was of the slightest sort, according to the author. Its simplicity, its direct emotional appeal, its quiet humor, leave scarcely any ground for criticism or analysis.
With all its simplicity, The Rising of the Moon is a carefully prepared little play. Observe the methods used to create atmosphere. An effective bit of "living stage-direction" is the speech: "There's a flight of steps here that leads to the water. This is a place that should be minded well. If he got down here, his friends might have a boat to meet him; they might send it in here from outside." Without more ado, the action is begun: two and a half pages supply what preparation is needful, then the Ballad-singer comes in. The quick, short dialogue, the quaint idioms, the amusing manner in which the slight plot winds about, but ever pursues its way upward to the climax -- all this reveals careful workmanship. The dénouement is brief, and the close very effective.
During [Lady Gregory's day], certain critics and dramatists -- Synge, Jones, Bennett, and Knoblauch among the latter -- [had] either openly or in practice advocated a return to the play for the play's sake, and consistently avoided thesis plays, plays with "ideas." Ideas, they [felt, were] usurping the place of joy and life in the theater. They [objected] in general to Brieux and Bernard Shaw, not primarily because such dramatists [wrote] plays for the purpose of furthering a reform or combating a social abuse or setting forth problems, but because in so doing they [were] abusing the dramatic form, which is intended to represent all of life, and not to expose ideas which have to do, in a greater or less degree, with life.
Lady Gregory, in particular, depicts life as she sees it, and allows ideas to grow out of her portrayal of it. She is always more interested in people than in things and abstract ideas, so that her plays are likely to outlive those of Hervieu and Brieux in which abstractions preponderate. She is not devoid of ideas -- far from it -- only her ideas are always inseparable from her characters. She has not "lost sight of the individual."

[حلمي كبير]

ماحصلت ترجمة بس اهم شي اعرفي تتكلم عن شنهو

اما عن الكوتشينز على حسب الاينز اللي قرأتهم

الحلو بالبلاي انها ون آكت <-- آياام الشناوي يادفعة 2009






ان هذه المسرحيه قصيره جدا فهي عباره عن One-Act Play...
وهي مسرحيه حديثه ,في بدايه القرن العشرين......

The Characters:
We have only 4 characters: ( A Ragged Man, Sergeant,Policeman X, Policeman B)

The Plot:
the most important characters is A Ragged Man who is Irish patriot man fights against the British government.He wants his country (Ierland) to be free from the British occupation, so , he escape from the prison to continue his work as a patriot.After his escaping ,he trys to go to the see by a boat with helping from his friends who waits him.The police knew that he is going to the see,so, they sent policemens nearby the see and paste placards all over the country.

The Man makes himself as a poor ballad-singer and when he reaches the quay to escape he sees the Sergeant who looks for the Man.The sergeant dose not know him because he disguises as a poor ballad-singer .

At the end, the Man sings a patriot song which makes Sergeant remembers that he was in the past a Irish patriot but when he got married he gave up and worked with the British government.When Man's freinds comes by the boat the Man trys to escape and Sergeant discovers that he is the wanted man but the Man remembers him that he is Irish and he must stands with his people so the Sergeant lets him go. t

The Theme:

1-The difference between appearance and reality
2-The changeableness of life
3-There is nothing for sure.

The Setting:
The place: Side of a quay in a seaport town


The significance of the Title
(المغزى من عنوان المسرحيه)
(الى ماذا يشير اسم المسرحيه..ارتفاع القمر..)

It refers to when the Irish people control Ireland by themselves not the British government


المصدر : سعودي أنجلش

لو حاطة الموضوع بفترة ممكن اكون ساعدتك اكثر من كذا

قود لك

[maziona]

مشكورييييييين حبايبي مررره ..,
بس هي ماتكملت عن الثيم ولا شي بس شرحتها وحطت كم سؤال يتعلق بنفس المسرحيه عشان كذا ابغى اقراها

مشكوريين مره اخرى وموفقيين ان شااء الله :)