Theatre and SongPeter Davison, Rolf Meyersohn, Edward Shils Chadwyck-Healey, 1978 - 279 pagini |
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Pagina 8-73
... 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 growing popular in Shakespeare's day . Maria's ...
... 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 growing popular in Shakespeare's day . Maria's ...
Pagina 8-82
... Direct address to the audience shatters all possibility of dramatic illusion , in order to make clear the need for alert cross - reference between ancient and contemporary Britain . The quality of the verse is no argument against ...
... Direct address to the audience shatters all possibility of dramatic illusion , in order to make clear the need for alert cross - reference between ancient and contemporary Britain . The quality of the verse is no argument against ...
Pagina 8-83
... direct address , in Shakespeare and the later Elizabethans , is normally softened to the familiar soliloquy and aside . These are usually explained as a conventional ' thinking aloud ' , ( 1 ) and might be regarded as a stage nearer ...
... direct address , in Shakespeare and the later Elizabethans , is normally softened to the familiar soliloquy and aside . These are usually explained as a conventional ' thinking aloud ' , ( 1 ) and might be regarded as a stage nearer ...
Cuprins
CONVENTIONALISM AND NATURALISM | 8-9 |
PLANES OF REALITY | 8-27 |
ANACHRONISM AND THE TREATMENT OF TIME | 8-38 |
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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