Drama, Metadrama and PerceptionBucknell University Press, 1986 - 189 Seiten |
Im Buch
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Seite 101
... audience must have a fair degree of literary and theatrical sophistication ; it is impressive , for example , that Aristophanes could count on his audience of thousands of Athenians to be familiar with the ideas that Socrates and the ...
... audience must have a fair degree of literary and theatrical sophistication ; it is impressive , for example , that Aristophanes could count on his audience of thousands of Athenians to be familiar with the ideas that Socrates and the ...
Seite 117
... audience had come to the theatre expecting to see and hear . Handke is operating within the moralistic tradition of Brecht , using theatre to teach a moral lesson , turning “ play ” into “ work . ” The bourgeois audience is to be taught ...
... audience had come to the theatre expecting to see and hear . Handke is operating within the moralistic tradition of Brecht , using theatre to teach a moral lesson , turning “ play ” into “ work . ” The bourgeois audience is to be taught ...
Seite 156
... audience entered the performance area , numerous scenes were already taking place , simultaneously . Indeed , even before they entered , the audience were confronted with soldiers from the play marching in and around the building . Once ...
... audience entered the performance area , numerous scenes were already taking place , simultaneously . Indeed , even before they entered , the audience were confronted with soldiers from the play marching in and around the building . Once ...
Inhalt
Acknowledgments | 9 |
Sophocles Oedipus the King | 121 |
Shakespeare As You Like It | 133 |
Urheberrecht | |
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acting actor actually archetype Aristophanes artistic August Strindberg avant-garde background become Bertolt Brecht Brecht Büchner Captain ceremony characters comedies contrast critics culture defined depicted device drama/culture complex dramatic illusion dream Duke Euripides example fact father feel Forest of Arden framed Freud Greek Hamlet Harold Pinter human Ibsen identity inner play inset type intuitive Jaques King Laius Laura literature live Macbeth main play means metadramatic modern drama Molière murder nature neurotic never Oedipus Oedipus the King offstage Orlando Othello outer play parody perception performance person Pinter play's playwright plot primary process process thinking process thought production R. D. Laing real-life reference realistic reality recognize Richard Richard II ritual role playing Rosalind scene script seems self-reference sense sexual Shakespeare's Similarly society Solness Solness's Sophocles speech stage Strindberg Teiresias theatre theatrical things Touchstone traditional tragedy turn unconscious unconscious mind Woyzeck York