Theatre and SongPeter Davison, Rolf Meyersohn, Edward Shils Chadwyck-Healey, 1978 - 279 pagini |
Din interiorul cărții
Rezultatele 1 - 3 din 51
Pagina 8-28
... attention to the play as play , overtly , in the dialogue itself , emphasising verbally what the manner of production already implied : the co - existence of play - world and real world in the minds of his audience . Perhaps when ...
... attention to the play as play , overtly , in the dialogue itself , emphasising verbally what the manner of production already implied : the co - existence of play - world and real world in the minds of his audience . Perhaps when ...
Pagina 8-60
... attention as is given to happenings in ordinary life , poetic drama requires the same sort of attention as is necessary in reading lyric poetry . The impact of naturalistic drama on the mind is a crude and direct impact as of actual ...
... attention as is given to happenings in ordinary life , poetic drama requires the same sort of attention as is necessary in reading lyric poetry . The impact of naturalistic drama on the mind is a crude and direct impact as of actual ...
Pagina 8-221
... attention by means of ever - new products , but this attention spells their doom . If no attention is given to the song , it cannot be sold ; if attention is paid to it , there is always the possibility that people will no longer accept ...
... attention by means of ever - new products , but this attention spells their doom . If no attention is given to the song , it cannot be sold ; if attention is paid to it , there is always the possibility that people will no longer accept ...
Cuprins
CONVENTIONALISM AND NATURALISM | 8-9 |
PLANES OF REALITY | 8-27 |
ANACHRONISM AND THE TREATMENT OF TIME | 8-38 |
Drept de autor | |
12 alte secțiuni nu sunt arătate
Alte ediții - Afișează-le pe toate
Termeni și expresii frecvente
accept actor actual Antony and Cleopatra artists attention attitude audience aware become burlesque Caesar character Claudius comedy comic consciousness contemporary conventional conventionalism Cressida criticism dialogue Dover Wilson dramatic illusion dual consciousness dumb-show Elizabethan entertainment experience expressed Falstaff feeling film glamor Gorboduc Hamlet human Iago individual interpretation jazz jitterbug King King Claudius L. C. Knights Lear listener lyricist Macbeth means melody mind modern multi-consciousness music hall music-hall music-hall songs naturalistic nature never night Othello pantomime passage patriotic performance play play-world and real Player's speech players plugging poetry popular drama popular music popular song present production Professor Schücking psychological real world recognition reference Renaissance Roman scene serious music Shakespeare significance social speak stage standardization story suggestion symbolic taste theatre theme thou thought tion tradition tragedy Troilus Troilus and Cressida unconscious Variety Theater verse whole Wilson Knight words writing