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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... tion in trying to tell the story of Hamlet to a circle of elders in the West African bush country . The elders incessantly interrupted her to correct her faulty interpretation of the events of this story they had never before heard . As ...
... tion in trying to tell the story of Hamlet to a circle of elders in the West African bush country . The elders incessantly interrupted her to correct her faulty interpretation of the events of this story they had never before heard . As ...
Strona 75
... tion to the flow of time ; without me , or another like me , the present is an unnecessary category . The present , Merleau - Ponty says , is the passing of time itself , or “ that which does not pass in time ” ( 1978 , 423 ) . That is ...
... tion to the flow of time ; without me , or another like me , the present is an unnecessary category . The present , Merleau - Ponty says , is the passing of time itself , or “ that which does not pass in time ” ( 1978 , 423 ) . That is ...
Strona 100
... tion . The " conversation " in Chekhov , on the other hand , is based on a different principle of mimetic probability . There is a kind of logic in the duet of voices — they seem to belong to the same conversation — but it cannot be ...
... tion . The " conversation " in Chekhov , on the other hand , is based on a different principle of mimetic probability . There is a kind of logic in the duet of voices — they seem to belong to the same conversation — but it cannot be ...
Spis treści
Mimesis and Pleasure | 1 |
The Actor as Musical Instrument | 25 |
The Poetics as UrText | 42 |
Prawa autorskie | |
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