Theatre and SongPeter Davison, Rolf Meyersohn, Edward Shils Chadwyck-Healey, 1978 - 279 pagini |
Din interiorul cărții
Rezultatele 1 - 3 din 42
Pagina 8-29
... course of its performance . An Ibsen drama , attended to passively , is discussed afterwards in abstract terms ; but in a Shakespearean play , criticism is an integral part of apprehension , and apprehension thereby becomes an activity ...
... course of its performance . An Ibsen drama , attended to passively , is discussed afterwards in abstract terms ; but in a Shakespearean play , criticism is an integral part of apprehension , and apprehension thereby becomes an activity ...
Pagina 8-73
... course , be presented only in outline by the method of direct statement : the brisk summaries which characters give of themselves and of one another resemble , and are probably akin to , the Theophrastan character - sketch , which was ...
... course , be presented only in outline by the method of direct statement : the brisk summaries which characters give of themselves and of one another resemble , and are probably akin to , the Theophrastan character - sketch , which was ...
Pagina 8-262
... course , the two interviewers have to be sensitive to each other's cues if they are not to get in the way . 11. A few sample questions : favorite tunes ( and how far back these , and the lyrics , can be recalled ) ; favorite bands ...
... course , the two interviewers have to be sensitive to each other's cues if they are not to get in the way . 11. A few sample questions : favorite tunes ( and how far back these , and the lyrics , can be recalled ) ; favorite bands ...
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