Drama, Metadrama and PerceptionBucknell University Press, 1986 - 189 Seiten |
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Seite 113
... backgrounds within fields of thought . The physical stage is itself one of these boundaries , with the real world of backstage and the auditorium providing a background that is not fully present in our consciousness , yet is never ...
... backgrounds within fields of thought . The physical stage is itself one of these boundaries , with the real world of backstage and the auditorium providing a background that is not fully present in our consciousness , yet is never ...
Seite 114
... background . In our culture , the " realest " of realities has become that which is identified by science , or , in ... background of Shakespeare's play . This mythical background is , again , only one of the play's many background ...
... background . In our culture , the " realest " of realities has become that which is identified by science , or , in ... background of Shakespeare's play . This mythical background is , again , only one of the play's many background ...
Seite 116
... background ( the " realities " that define the illusion ) . What happens is that there is a shift in perception that turns the field of thought inside out . What had been background is foregrounded , and vice versa . Note that in the ...
... background ( the " realities " that define the illusion ) . What happens is that there is a shift in perception that turns the field of thought inside out . What had been background is foregrounded , and vice versa . Note that in the ...
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