Theatre and SongPeter Davison, Rolf Meyersohn, Edward Shils Chadwyck-Healey, 1978 - 279 pagini |
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Pagina 8-20
... attitude which did not despise conventions . When , as in Chapter Two , I refer to physical conditions as mediating certain attitudes to dramatic illusion , it must be understood that I do not suggest either historical or logical ...
... attitude which did not despise conventions . When , as in Chapter Two , I refer to physical conditions as mediating certain attitudes to dramatic illusion , it must be understood that I do not suggest either historical or logical ...
Pagina 8-146
... attitude to ' the mobled queen ' ; and his attitude in the play scene itself . It was , of course , necessary to write in a different style from the main play in order to distinguish the Player's speech and the play - within - the ...
... attitude to ' the mobled queen ' ; and his attitude in the play scene itself . It was , of course , necessary to write in a different style from the main play in order to distinguish the Player's speech and the play - within - the ...
Pagina 8-212
... attitude of a child incessantly uttering the same demand ( " I Want to Be Happy " ) ; 1 the limitation of many melodies to very few tones , com- parable to the way in which a small child speaks before he has the full alphabet at his ...
... attitude of a child incessantly uttering the same demand ( " I Want to Be Happy " ) ; 1 the limitation of many melodies to very few tones , com- parable to the way in which a small child speaks before he has the full alphabet at his ...
Cuprins
CONVENTIONALISM AND NATURALISM | 8-9 |
PLANES OF REALITY | 8-27 |
ANACHRONISM AND THE TREATMENT OF TIME | 8-38 |
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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