Theatre and SongPeter Davison, Rolf Meyersohn, Edward Shils Chadwyck-Healey, 1978 - 279 pagini |
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Pagina 8-88
... scene in which , through episodic intensification , he is endowed with a character quite different from that which normally he sustains . Claudius is the villain of the piece , a smiling villain , with a suave , disarming manner ; but ...
... scene in which , through episodic intensification , he is endowed with a character quite different from that which normally he sustains . Claudius is the villain of the piece , a smiling villain , with a suave , disarming manner ; but ...
Pagina 8-97
... scenes of Henry IV , Part I. His remark above occurs significantly at the end of a scene , and the next scene closes with a similar but even more emphatic outburst : Lechery , lechery ; still , wars and lechery ; nothing else holds ...
... scenes of Henry IV , Part I. His remark above occurs significantly at the end of a scene , and the next scene closes with a similar but even more emphatic outburst : Lechery , lechery ; still , wars and lechery ; nothing else holds ...
Pagina 8-135
... scene ( II . iii . 189 ( 5 ) ) , when we get to the scene itself we find his place unexpectedly taken by Fabian ' . ( 6 ) It is suggested that Feste has to be free in order to open the following scene with a performance on the tabor ...
... scene ( II . iii . 189 ( 5 ) ) , when we get to the scene itself we find his place unexpectedly taken by Fabian ' . ( 6 ) It is suggested that Feste has to be free in order to open the following scene with a performance on the tabor ...
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