MLA形式で戯曲を引用する方法

引用文献 — 単独で刊行された脚本：

劇作家の姓, 名. 戯曲のタイトル. 出版社, 年.

引用文献 — 未刊行の脚本：

劇作家の姓, 名. "戯曲のタイトル." 年. Theatrical script.

引用文献 — 作品集に収録された戯曲：

劇作家の姓, 名. 戯曲のタイトル. 作品集のタイトル, edited by 編者名, 出版社, 年, pp. xx-xx.

引用文献 — 共同制作の生上演：

戯曲のタイトル. By 劇作家, directed by 演出家, performances by 出演者 and 出演者, 劇団, 日 月. 年, 会場, 都市.

引用文献 — フェスティバルのプログラムに載った一本：

劇作家の姓, 名. 戯曲のタイトル. 催しのタイトル, 日 月. 年, 会場, 都市.

本文中 — 行番号のある韻文劇：

(劇作家 幕.場.行)

本文中 — 散文劇またはページ付きの版：

(劇作家 ページ)

本文中 — タイトル起しの上演：

(短縮タイトル)

本文中 — 段落に番号を振る電子書籍：

(par. 25) or (par. 25 [act 1, scene 4, lines 15–18])

The script of a play and each performance of it are different works and should be cited separately.

Although the title of a published play is styled with italics, use quotation marks to indicate that a work is unpublished.

If you are discussing a collaborative performance, generally begin with the title of the source.

If you see the play on more than one date, you’re effectively seeing different versions of the work; thus, a new entry is required:

The title of an independent work (that is, a work that usually stands alone, such as a play, novel, or artwork) is styled in italics, even when the work is contained in another independent work

The in-text citation should direct the reader unambiguously to the entry in your works-cited list for the source—and, if possible, to a passage in the source—while creating the least possible interruption in your text.

If you are citing a play that was performed along with other plays in the same event, each of which has its own author, you should produce a works-cited-list entry for each play.

If your source uses paragraph numbers instead of page numbers or line numbers, your in-text citation should give the relevant number or numbers preceded by par. (for paragraph) or pars. (for paragraphs):

As always, cite the version of the work you are using.

引用文献 — 未刊行の脚本：

Marino, Alex. "Ramona’s Umbrella." 2015. Theatrical script.

引用文献 — 一夜目：

"Ramona’s Umbrella." By Alex Marino, directed by Jeannine Overstreet, performance by Tania Milena, Tiny Plays Production Company, 15 Aug. 2017, Second Street Theater, Sacramento, CA.

引用文献 — 二夜目：

"Ramona’s Umbrella." By Alex Marino, directed by Jeannine Overstreet, performance by Tania Milena, Tiny Plays Production Company, 17 Aug. 2017, Second Street Theater, Sacramento, CA.

In the closing scene of “Ramona’s Umbrella,” Marino has Ramona confess to her boyfriend that she’s lost the umbrella (45). In the Tiny Plays production, Tania Milena delivers these lines in an anguished whisper.

For in-text references, cite the script by the author’s last name and cite the performance by the performance name, in accordance with the works-cited-list entries.

Handbook（規則そのものを引用するときにこれを挙げる）：

MLA Handbook. 9th ed., Modern Language Association of America, 2021.

引用文献：

Miller, Arthur. Death of a Salesman. Bloomsbury Publishing, 2015.

本文中のテンプレート（その版に印刷されたページを使う）：

(Miller xx)

Shakespeare, William. Macbeth. The Riverside Shakespeare, edited by G. Blakemore Evans et al., vol. 2, Houghton Mifflin, 1974, pp. 1307-42.

Shakespeare, William. The Tragedy of King Lear. The Riverside Shakespeare, edited by G. Blakemore Evans, Houghton Mifflin, 1974, pp. 1249-1305.

その版からの行中引用：

When Regan asks Lear, “What need one?,” he responds in exasperation, “O, reason not the need!” (Shakespeare 2.4.263-64).

劇作家の姓, 名. 戯曲のタイトル. Translated by 翻訳者名, 出版社, 年.

翻訳者起し（論文が翻訳そのものを扱うときに限る）：

翻訳者の姓, 名, translator. 戯曲のタイトル. By 劇作家, 出版社, 年.

Note that Bernanos’s name does not appear in the entry. This entry is for the libretto, not for the play from which the libretto was derived.

引用文献：

Poulenc, Francis, composer and librettist. The Carmelites. Translated and revised by Joseph Machlis, Peter Moores Foundation, 30 July 2006, www.chandos.net/chanimages/Booklets/CH3134.pdf.

引用文献：

Heartbreak House. By George Bernard Shaw, directed by Robin Lefevre, performances by Philip Bosco and Swoosie Kurtz, Roundabout Theatre Company, 1 Oct. 2006, American Airlines Theatre, New York.

本文中：

(Heartbreak House)

引用文献：

Lefevre, Robin, director. Heartbreak House. By George Bernard Shaw, performances by Philip Bosco and Swoosie Kurtz, Roundabout Theatre Company, 1 Oct. 2006, American Airlines Theatre, New York.

本文中：

(Lefevre)

The event itself can be considered the container of the play:

引用文献：

Castro, Cristina. May Yamoe. She Persists: The Great Divide III, 13 Mar. 2019, Pillsbury House Theatre, Chicago.

As always, key your in-text citation for each play to the first element of the corresponding works-cited-list entry.

本文中：

(Castro)

配信収録：

Munby, Jonathan, director. The Merchant of Venice. By William Shakespeare. Shakespeare’s Globe, Shakespeare Globe Trust, 2017, www.globeplayer.tv/.

DVD：

Radford, Michael, director. The Merchant of Venice. By William Shakespeare, Sony Pictures Home Entertainment, 2005. DVD.

In act 1, scene 2, of Julius Caesar, the soothsayer warns Caesar to “[b]eware the ides of March” (18).

In Macbeth, Shakespeare often returns to the idea that appearances can be deceiving. After hearing of the death of the traitorous Thane of Cawdor, who had seemed so loyal, Duncan remarks, “There’s no art, / To find the mind’s construction in the face” (54; 1.4).

The edition of Macbeth I used does not provide line numbers. I cite the play by page number followed by act and scene numbers.

その例の引用文献：

Shakespeare, William. Macbeth. The Plays of William Shakespeare, vol. 10, edited by George Seeves et al., T. Davison, 1813, pp. 11–295.

Citing from a play that has both verse and prose sections—whether the play is William Shakespeare’s Macbeth or August Wilson’s Fences—is no different from citing from a play that is all verse or all prose: you provide page numbers or line numbers (line numbers are usually given after act and scene numbers) according to how the text is located in the edition.

HAMLET. Ay, marry, is ’t,
But, to my mind, though I am native here
And to the manner born, it is a custom
More honored in the breach than the observance. (par. 25)

HAMLET. Ay, marry, is ’t,
But, to my mind, though I am native here
And to the manner born, it is a custom
More honored in the breach than the observance. (par. 25 [act 1, scene 4, lines 15–18])

For either method, it would be a good idea to indicate in an endnote that your source does not have line numbers, because readers may expect them.

If you quote dialogue from more than one speaker in a play, set the material as a block quotation, following the guidance in section 6.40 in the MLA Handbook.

The character describes his movements and his housing situation in detail:

JERRY. I walked all the way up Fifth Avenue from Washington Square; all the way.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

JERRY. I took the subway down to the Village so I could walk all the way up Fifth Avenue to the zoo.

Each line of ellipsis dots indicates an omission that includes speech from another character.

Jerry gives a surprisingly detailed description of where he lives: “I live in a four-story brownstone rooming-house on the upper West Side between Columbus Avenue and Central Park West. I live on the top floor; . . . one of my walls is made of beaverboard” (Albee 11).

その例の引用文献：

Albee, Edward. The Zoo Story. The Zoo Story and The Sandbox, rev. ed., Dramatists Play Service, 1999, pp. 3–30.

Juliet refuses to acknowledge the signs of morning: “It was the nightingale, and not the lark, / . . . / Nightly she sings on yond pomegranate tree” (Shakespeare 3.5.2–4).

Juliet articulates her conflicted emotions:

Shall I speak ill of him that is my husband?
Ah, poor my lord, what tongue shall smooth thy
name
When I, thy three-hours wife, have mangled it?
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Back, foolish tears, back to your native spring;
Your tributary drops belong to woe,
Which you, mistaking, offer up to joy. (Shakespeare 3.2.106–14)

その例の引用文献：

Shakespeare, William. The Tragedy of Romeo and Juliet. Edited by Barbara A. Mowat and Paul Werstine, Folger Shakespeare Library / Washington Square Press, 1992.

“Money is the most important thing in the world,” declares Shaw in his prologue to Major Barbara (19), as if we didn’t already know that.

その序文の引用文献：

Shaw, George Bernard. "First Aid to Critics." Major Barbara, Brentano’s, 1917, pp. 5–48.

In the play’s prologue, Shakespeare tells his audience upfront how long Romeo and Juliet will take: “the two hours’ traffic of our stage” (line 12).

Shakespeare tells his audience in the prologue that in Henry V Harry is now “warlike” (line 5).

In defiance, Shaw describes his play as “intensely and deliberately didactic.”

そのページなしウェブ序文の引用文献：

Shaw, George Bernard. Preface. Pygmalion. Project Gutenburg, 19 Jan. 2005, www.gutenberg.org/app/uploads/sites/3/3825/3825-h/3825-h.htm.

When quoting stage directions, your aim should be consistency.

After Levan states that Homais “faints,” the stage directions detail what happens next: “She sinks down in a Chair, he falls at her feet” (22).

Manly’s scene concludes on a passionate image: “She sinks down in a Chair, he falls at her feet” (22 [stage direction])

To indicate that the quoted material is a stage direction, some scholars use the abbreviation sd after the line number: (120sd). But in an essay that is not specialized in theater history, it would be better to avoid mystifying your readers with that technical detail.

When quoting stage directions and dialogue together, follow your source’s use of parentheses or square brackets if you can:

“Her salt tears fell from her, and soft’ned the stones,
Sing willow”—
Lay by these—
[Singing.] “—willow, willow”—
Prithee hie thee; he’ll come anon—

The names of the characters in stage directions are often given in different ways—roman and all capital letters, small capitals, or a combination—but in your manuscript simply make them italic, with the rest of the stage direction:

“ Enter Nurse wringing her hands, . . .”