Theatre and SongPeter Davison, Rolf Meyersohn, Edward Shils Chadwyck-Healey, 1978 - 279 pagini |
Din interiorul cărții
Rezultatele 1 - 3 din 31
Pagina 8-18
... reason , isolated from the mind as a whole . The reason , it was maintained , must be un- coloured by emotion , and unaided by the imagination ; irrational ' feelings ' and ' convictions ' , ' intuition ' , and the fruits of mere ...
... reason , isolated from the mind as a whole . The reason , it was maintained , must be un- coloured by emotion , and unaided by the imagination ; irrational ' feelings ' and ' convictions ' , ' intuition ' , and the fruits of mere ...
Pagina 8-19
... reason , but in each instance reason was engaged in a melancholy abrogation of her powers . This explanation of the growth of naturalism in the theatre , associating the process with far - reaching changes in philosophic outlook , may ...
... reason , but in each instance reason was engaged in a melancholy abrogation of her powers . This explanation of the growth of naturalism in the theatre , associating the process with far - reaching changes in philosophic outlook , may ...
Pagina 8-142
... reason for regarding it as directly expressing Shakespeare's opinion . Contrast the colloquial energy of the advice ... reason to believe that Shakespeare had his heart in it ; and one good reason to believe that he had not , for it is ...
... reason for regarding it as directly expressing Shakespeare's opinion . Contrast the colloquial energy of the advice ... reason to believe that Shakespeare had his heart in it ; and one good reason to believe that he had not , for it is ...
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