这项工作(就像理论讨论戏剧“真实性”、“bienseance”和悲剧和喜剧的本质)强调需要道德效用。
This work (much like theoretical discussions on theatrical " vraisemblance ", "bienséance" and the nature of tragedy and comedy) stressed the need for moral utility.
将社会的道德败坏归咎于剧院,这是伦敦以往的反应,1596年,伦敦城禁止了戏剧公演。
London's response was to blame theatres for society's debaucheries and in 1596 the city banned the public performance of plays.
中国演员李乃文说:“法国电影是戏剧性的又展现了许多道德和深度。”
Li Naiwen, Chinese Actor, said, "French film is dramatic with as much morality and depth."
And the drama of human life should revolve not around the search for eternal life but around the moral conflict and tension between a good god's design for creation and the free will of human beings that can corrupt that good design.
而关于人类生命的戏剧,不应该围绕于对永生的追寻,而是道德的冲突和紧张状态,在上帝创造的美好,和人类能腐蚀这种美好创造的自由意志间的冲突。
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