Theatre and SongPeter Davison, Rolf Meyersohn, Edward Shils Chadwyck-Healey, 1978 - 279 pagini |
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Pagina 8-92
... theme . Shakespeare's chief purpose was entertainment , his deeper pur- pose only incidental , and so it would be wrong to take everything in the play as equally significant . In such circumstances , there is no harm in Touchstone's ...
... theme . Shakespeare's chief purpose was entertainment , his deeper pur- pose only incidental , and so it would be wrong to take everything in the play as equally significant . In such circumstances , there is no harm in Touchstone's ...
Pagina 8-202
... theme , then the introduction of a second part which may lead to more distant tonal regions - formalistically ... theme is mechanically repeated . After the first occurrence of the second theme in the horns , the two essen- tial elements ...
... theme , then the introduction of a second part which may lead to more distant tonal regions - formalistically ... theme is mechanically repeated . After the first occurrence of the second theme in the horns , the two essen- tial elements ...
Pagina 8-243
... theme for the popular song whose success now depends in large measure upon the age - groups which patronise the dance halls and the hamburger stands — the theme of the consummation of premarital love . The consummation either was , is ...
... theme for the popular song whose success now depends in large measure upon the age - groups which patronise the dance halls and the hamburger stands — the theme of the consummation of premarital love . The consummation either was , is ...
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