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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... whole may be obvious , but it is a first principle in which virtually all the constructional subprinciples of the Poetics are nested . Once you start thinking about what a whole is and how a play achieves wholeness , you have to invoke ...
... whole may be obvious , but it is a first principle in which virtually all the constructional subprinciples of the Poetics are nested . Once you start thinking about what a whole is and how a play achieves wholeness , you have to invoke ...
Strona 58
... whole truth ( eventually ) ; it is probable that David Mamet's characters will use the F - word a great deal ; and so on . Of the reality of the fictional text , Wolfgang Iser says , " The reality represented in the text is not meant to ...
... whole truth ( eventually ) ; it is probable that David Mamet's characters will use the F - word a great deal ; and so on . Of the reality of the fictional text , Wolfgang Iser says , " The reality represented in the text is not meant to ...
Strona 169
... whole play in falling . But if you look at what is made of the plant in either case , you see that Ibsen uses Juliana's hat to illustrate Hedda's revulsion toward the family she has inherited through a casual conversation that led to ...
... whole play in falling . But if you look at what is made of the plant in either case , you see that Ibsen uses Juliana's hat to illustrate Hedda's revulsion toward the family she has inherited through a casual conversation that led to ...
Spis treści
Mimesis and Pleasure | 1 |
The Actor as Musical Instrument | 25 |
The Poetics as UrText | 42 |
Prawa autorskie | |
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