The Pleasure of the PlayCornell University Press, 1994 - 226 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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Strona 36
... simply any language used by the actor but language that “ uses ” the actor in speaking it . That is , dramatic speech is not there for its own purpose or end but to actualize the poten- tialities of the performer . The actor may be ...
... simply any language used by the actor but language that “ uses ” the actor in speaking it . That is , dramatic speech is not there for its own purpose or end but to actualize the poten- tialities of the performer . The actor may be ...
Strona 61
... simply through Hamlet's soliloquies ( " Why is this thing yet to do ? " ) but in the play's habit of interrupting a possible direct course ( like those of Macbeth or Othello ) and continually interposing delays in the form of subplots ...
... simply through Hamlet's soliloquies ( " Why is this thing yet to do ? " ) but in the play's habit of interrupting a possible direct course ( like those of Macbeth or Othello ) and continually interposing delays in the form of subplots ...
Strona 92
... simply learns who he is " ( Aristotle 1981 , 171 ) . I am moved to respond , like the Greek chorus , by saying that both sides have spoken well , they simply misunderstand each other . Hardison is trying to determine exactly what ...
... simply learns who he is " ( Aristotle 1981 , 171 ) . I am moved to respond , like the Greek chorus , by saying that both sides have spoken well , they simply misunderstand each other . Hardison is trying to determine exactly what ...
Spis treści
Mimesis and Pleasure | 1 |
The Actor as Musical Instrument | 25 |
The Poetics as UrText | 42 |
Prawa autorskie | |
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