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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... speak of the power of the film actor's performance . But Anthony Hopkins and Glenn Close are , as Metz says , absent ... speaking characters in relation to the audience's point of view ; ( 4 ) the focus on one person at a time and the ...
... speak of the power of the film actor's performance . But Anthony Hopkins and Glenn Close are , as Metz says , absent ... speaking characters in relation to the audience's point of view ; ( 4 ) the focus on one person at a time and the ...
Strona 72
... speaking in a metaphorical way here , since no two elements in a play can coincide ( occupy the same space or time ) in the sense that geometricians speak of angles or circles coinciding or that Zeno thought the arrow coincided with the ...
... speaking in a metaphorical way here , since no two elements in a play can coincide ( occupy the same space or time ) in the sense that geometricians speak of angles or circles coinciding or that Zeno thought the arrow coincided with the ...
Strona 209
... speak Havel , any more than one can speak the self . The voice that speaks , the Unnamable , says , knows that in some deep sense it lies . Still , one is " obliged to speak " : " You must go on . . . you must say words , as long as ...
... speak Havel , any more than one can speak the self . The voice that speaks , the Unnamable , says , knows that in some deep sense it lies . Still , one is " obliged to speak " : " You must go on . . . you must say words , as long as ...
Spis treści
Mimesis and Pleasure | 1 |
The Actor as Musical Instrument | 25 |
The Poetics as UrText | 42 |
Prawa autorskie | |
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