Drama, Metadrama and PerceptionBucknell University Press, 1986 - 189 Seiten |
Im Buch
Ergebnisse 1-3 von 10
Seite 62
... objects , physical rhythm of movements whose crescendo and decres- cendo will accord exactly with the pulsation of movements familiar to every- one , concrete appearances of new and surprising objects , masks , effigies yards high ...
... objects , physical rhythm of movements whose crescendo and decres- cendo will accord exactly with the pulsation of movements familiar to every- one , concrete appearances of new and surprising objects , masks , effigies yards high ...
Seite 95
... objects ; real events . As with literary references , the metadramatic effect is proportional to the degree to which ... objects on stage . ( Had they been painted on the scenery , no one would have been surprised . ) Nowadays , using ...
... objects ; real events . As with literary references , the metadramatic effect is proportional to the degree to which ... objects on stage . ( Had they been painted on the scenery , no one would have been surprised . ) Nowadays , using ...
Seite 106
... objects , have the purpose of making space visible and its continuity sensible . The space itself is a projected image , and everything pictured serves to define and organize it . Even representation of familiar objects , if it occurs ...
... objects , have the purpose of making space visible and its continuity sensible . The space itself is a projected image , and everything pictured serves to define and organize it . Even representation of familiar objects , if it occurs ...
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