The Pleasure of the PlayCornell University Press, 1994 - 226 psl. This witty, informed, and concise introduction to the principles of drama helps us to experience the pleasure of plays from Oedipus Rex to Endgame. Never losing sight of the interaction between play and spectator, Bert O. States provides a spirited view of works by Shakespeare, Ibsen, Chekhov, Pinter, Brecht, Beckett, Stoppard, Churchill, and many others. |
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39 psl.
... motion of the actor's body - all in all a perfect instance of what Hamlet referred to as suiting the action to the word and the word to the action . The scene is as hilarious as any in Shakespeare , but it is also a delicate rendering ...
... motion of the actor's body - all in all a perfect instance of what Hamlet referred to as suiting the action to the word and the word to the action . The scene is as hilarious as any in Shakespeare , but it is also a delicate rendering ...
76 psl.
... motion . We want to insist , quite justifiably , that the arrow is in motion at every instant from the beginning to the end of its flight , yet its motion is never present at any moment of presence . The presence of motion is ...
... motion . We want to insist , quite justifiably , that the arrow is in motion at every instant from the beginning to the end of its flight , yet its motion is never present at any moment of presence . The presence of motion is ...
77 psl.
... motion into intelligible action . As we have seen , what distinguishes action from motion is the sense of implicit wholeness , or wholeness in the making . Motion is con- tinuous and belongs strictly to the sphere of physical behavior ...
... motion into intelligible action . As we have seen , what distinguishes action from motion is the sense of implicit wholeness , or wholeness in the making . Motion is con- tinuous and belongs strictly to the sphere of physical behavior ...
Turinys
Mimesis and Pleasure | 1 |
The Actor as Musical Instrument | 25 |
The Poetics as UrText | 42 |
Autorių teisės | |
Nerodoma skirsnių: 11
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Pagrindiniai terminai ir frazės
actor aesthetic Anatomy of Dramatic anglerfish Aristotelian Aristotle Aristotle's artistic audience Beckett become begin behavior Brecht catastrophe catharsis causality Chekhov comedy concept course death drama Dramatic Character dramatist dream effect emotional entelechial epic example experience fate fiction Greek hamartia Hamlet happens Hedda hero human I. A. Richards Ibsen idea identity illusion imagine imitation instance interest kind Laius Lear least Macbeth meaning metaphor mimesis mimetic modern moral Moreover murder nature notion O. B. Hardison occurs Oedipus Rex Oedipus's Othello paradox performance peripety Peripety and Recognition person Pinter play Pleasure Plot and Action Poetics possible principle probably problem produce protagonist Real Inspector Hound refer reversal Samuel Beckett scene seems sense Shakespeare signifier simply speak speech stage suggests term Tesman theater thematic theme things Thought as Ventriloquism tion tragic vision ventriloquism whole word write