Theatre and SongPeter Davison, Rolf Meyersohn, Edward Shils Chadwyck-Healey, 1978 - 279 pagini |
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Pagina 8-62
... naturalistic approach in any way valid for Shakespeare ? The naturalistic approach treats stage characters as if they were real persons , and seeks a psychological explanation for their words and deeds . An audience in the naturalistic ...
... naturalistic approach in any way valid for Shakespeare ? The naturalistic approach treats stage characters as if they were real persons , and seeks a psychological explanation for their words and deeds . An audience in the naturalistic ...
Pagina 8-67
... naturalistic stage , and the narrative mode is used a good deal - always , of course , blended with the dramatic . Naturalistic expression of physical and mental states must have been limited by the stylisation demanded by verse ...
... naturalistic stage , and the narrative mode is used a good deal - always , of course , blended with the dramatic . Naturalistic expression of physical and mental states must have been limited by the stylisation demanded by verse ...
Pagina 8-73
... naturalistic expres- sion of character with the conventional , and it is therefore impos- sible to prescribe exact limits to the naturalistic approach . Shakespearean drama is not a parlour game , but art that has grown out of life ...
... naturalistic expres- sion of character with the conventional , and it is therefore impos- sible to prescribe exact limits to the naturalistic approach . Shakespearean drama is not a parlour game , but art that has grown out of life ...
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