Drama, Metadrama and PerceptionBucknell University Press, 1986 - 189 Seiten |
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Seite 90
... parody is the exception that proves the rule , which is that or- dinarily we do not consciously notice standard elements and techniques drawn from the drama / culture complex , despite their omnipresence . Other factors that affect the ...
... parody is the exception that proves the rule , which is that or- dinarily we do not consciously notice standard elements and techniques drawn from the drama / culture complex , despite their omnipresence . Other factors that affect the ...
Seite 93
... parody , where an archetypal character , situation , speech , or action is held up to ridicule . Again , such parody can be more specific , relating to recent works that are very much in the audience's consciousness . Aristophanes ' the ...
... parody , where an archetypal character , situation , speech , or action is held up to ridicule . Again , such parody can be more specific , relating to recent works that are very much in the audience's consciousness . Aristophanes ' the ...
Seite 96
... parody , however , in that generalized satire is never metadramatic . To parody a well - established literary convention , as Brecht does at the end of Threepenny Opera , may well have the metadramatic effect of destroying the dramatic ...
... parody , however , in that generalized satire is never metadramatic . To parody a well - established literary convention , as Brecht does at the end of Threepenny Opera , may well have the metadramatic effect of destroying the dramatic ...
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