Theatre and SongPeter Davison, Rolf Meyersohn, Edward Shils Chadwyck-Healey, 1978 - 279 pagini |
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Pagina xvii
... example , monologue and cross - talk acts ) on contemporary drama , especially Beckett and Pinter . A particularly important chapter in Max Horkheimer and Theodor W. Adorno , Dialectic of Enlightenment in the context of this volume is ...
... example , monologue and cross - talk acts ) on contemporary drama , especially Beckett and Pinter . A particularly important chapter in Max Horkheimer and Theodor W. Adorno , Dialectic of Enlightenment in the context of this volume is ...
Pagina 8-201
... example , in the introduction of the first movement of Beethoven's Seventh Symphony the second theme ( in C - major ) gets its true meaning only from the context . Only through the whole does it acquire its particular lyrical and ...
... example , in the introduction of the first movement of Beethoven's Seventh Symphony the second theme ( in C - major ) gets its true meaning only from the context . Only through the whole does it acquire its particular lyrical and ...
Pagina 8-203
... example , the difference between the spheres cannot be adequately expressed in terms of complexity and simplicity . All works of the earlier Viennese classicism are , without exception , rhythmically simpler than stock arrangements of ...
... example , the difference between the spheres cannot be adequately expressed in terms of complexity and simplicity . All works of the earlier Viennese classicism are , without exception , rhythmically simpler than stock arrangements of ...
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