Theatre and SongPeter Davison, Rolf Meyersohn, Edward Shils Chadwyck-Healey, 1978 - 279 pagini |
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Pagina 8-24
... story is accepted as story , and song as song , simultaneously yet without confusion ; and none of the awkward questions are asked which would result from a monistic attitude to dramatic illusion . The co - presence of song and story is ...
... story is accepted as story , and song as song , simultaneously yet without confusion ; and none of the awkward questions are asked which would result from a monistic attitude to dramatic illusion . The co - presence of song and story is ...
Pagina 8-82
... story for a moment : he addresses the audience in character as the Fool , but not in any direct reference to the story . This half - and - half adjustment is rendered possible by the fact that the audience recognise him ( a ) as actor ...
... story for a moment : he addresses the audience in character as the Fool , but not in any direct reference to the story . This half - and - half adjustment is rendered possible by the fact that the audience recognise him ( a ) as actor ...
Pagina 8-110
... story and significance . When Professor Wilson Knight , in The Wheel of Fire , began to interpret Shakespeare mystically , he was adopting a method congenial to the Elizabethan mind and to the tradition of popular art . Nineteenth ...
... story and significance . When Professor Wilson Knight , in The Wheel of Fire , began to interpret Shakespeare mystically , he was adopting a method congenial to the Elizabethan mind and to the tradition of popular art . Nineteenth ...
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