Theatre and SongPeter Davison, Rolf Meyersohn, Edward Shils Chadwyck-Healey, 1978 - 279 pagini |
Din interiorul cărții
Rezultatele 1 - 3 din 39
Pagina 8-6
... present a Hamlet rather different , in consequence , from previous Hamlets . Meanwhile , however , the reader may ask himself , why need I be conscious of all these things in Shakespeare's plays , of which Shakespeare himself was ...
... present a Hamlet rather different , in consequence , from previous Hamlets . Meanwhile , however , the reader may ask himself , why need I be conscious of all these things in Shakespeare's plays , of which Shakespeare himself was ...
Pagina 8-46
... present . It is in the two parts of King Henry IV that past and present are most obviously brought together . On the one hand we have high politics , more or less correct historically , and on the other , the Falstaff material , drawn ...
... present . It is in the two parts of King Henry IV that past and present are most obviously brought together . On the one hand we have high politics , more or less correct historically , and on the other , the Falstaff material , drawn ...
Pagina 8-48
... present possibility , and to consider the very different code which in such circumstances they themselves might be tempted to apply . The present is thus distanced and appraised , and the past made uncomfortably alive , by this duality ...
... present possibility , and to consider the very different code which in such circumstances they themselves might be tempted to apply . The present is thus distanced and appraised , and the past made uncomfortably alive , by this duality ...
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