Theatre and SongPeter Davison, Rolf Meyersohn, Edward Shils Chadwyck-Healey, 1978 - 279 pagini |
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Rezultatele 1 - 3 din 46
Pagina 8-11
... Psychological naturalism as the basis of Shakespearean criticism , reached its limit in A. C. Bradley's Shakespearean Tragedy . ( 2 ) But already the physical conditions of Shakespeare's theatre had been patiently investigated ; and ...
... Psychological naturalism as the basis of Shakespearean criticism , reached its limit in A. C. Bradley's Shakespearean Tragedy . ( 2 ) But already the physical conditions of Shakespeare's theatre had been patiently investigated ; and ...
Pagina 8-62
... psychological characteristic as necessarily implied in the formal properties of the dialogue . But further , how far is it possible to distinguish form and content ? We do not think of the character , Macbeth , as a man who speaks in ...
... psychological characteristic as necessarily implied in the formal properties of the dialogue . But further , how far is it possible to distinguish form and content ? We do not think of the character , Macbeth , as a man who speaks in ...
Pagina 8-222
... psychological types of mass behavior toward music in general and popular music in particular , the " rhythmically obedient " type and the " emotional " type . Individuals of the rhythmically obedient type are mainly found among the ...
... psychological types of mass behavior toward music in general and popular music in particular , the " rhythmically obedient " type and the " emotional " type . Individuals of the rhythmically obedient type are mainly found among the ...
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