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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... stage itself which “ cut off the depicted world from what lies beyond the stage line " ; ( 2 ) the open room with no ceiling and one wall removed , “ an incredible arrangement if examined naively ” ; ( 3 ) the artificial position of ...
... stage itself which “ cut off the depicted world from what lies beyond the stage line " ; ( 2 ) the open room with no ceiling and one wall removed , “ an incredible arrangement if examined naively ” ; ( 3 ) the artificial position of ...
Strona 32
... stage space . In short , it isn't the jumping that impresses as much as the settling into a scene where theater can work its peculiar magic with its relatively modest toolbox . It is true that in battle scenes we are asked , as the ...
... stage space . In short , it isn't the jumping that impresses as much as the settling into a scene where theater can work its peculiar magic with its relatively modest toolbox . It is true that in battle scenes we are asked , as the ...
Strona 76
... stage action the eye sees the entire triptych of “ Augustinian ” time as it flows from future into past , like a row of chorus girls dancing through a spotlight on an otherwise dark stage.1 The now , in short , is not a knife edge but ...
... stage action the eye sees the entire triptych of “ Augustinian ” time as it flows from future into past , like a row of chorus girls dancing through a spotlight on an otherwise dark stage.1 The now , in short , is not a knife edge but ...
Spis treści
Introduction I | 1 |
Mimesis and Pleasure II | 11 |
The Actor as Musical Instrument | 25 |
Prawa autorskie | |
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