Drama, Metadrama and PerceptionBucknell University Press, 1986 - 189 Seiten |
Im Buch
Ergebnisse 1-3 von 27
Seite 52
... ceremony in our own lives , seeing it at best as a trivial vestige of our own primitive past . Nevertheless , we too employ ceremony to understand our world and ourselves . Consider , for example , a college graduation ceremony ...
... ceremony in our own lives , seeing it at best as a trivial vestige of our own primitive past . Nevertheless , we too employ ceremony to understand our world and ourselves . Consider , for example , a college graduation ceremony ...
Seite 55
... ceremony are performance media ; it is easy to incorporate a ceremony within a play . The reverse is not true , since changes in ceremony are always resisted . Ceremonies can only be changed from without — and theatre is often the means ...
... ceremony are performance media ; it is easy to incorporate a ceremony within a play . The reverse is not true , since changes in ceremony are always resisted . Ceremonies can only be changed from without — and theatre is often the means ...
Seite 58
... ceremony center on the hero ; tragedy is something the hero does as well as experiences . In tragedy subsequent to Shakespeare , we can note three significant types of ceremony : the offstage ceremony , the anti - ceremony , and the ...
... ceremony center on the hero ; tragedy is something the hero does as well as experiences . In tragedy subsequent to Shakespeare , we can note three significant types of ceremony : the offstage ceremony , the anti - ceremony , and the ...
Inhalt
Acknowledgments | 9 |
Sophocles Oedipus the King | 121 |
Shakespeare As You Like It | 133 |
Urheberrecht | |
6 weitere Abschnitte werden nicht angezeigt.
Andere Ausgaben - Alle anzeigen
Häufige Begriffe und Wortgruppen
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