Drama, Metadrama and PerceptionBucknell University Press, 1986 - 189 Seiten |
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Seite 53
... plot , in some sense . This is merely the principle of change applied within the play itself , rather than from play to play . The plot need not be an Aristotelian one , with beginning , middle , and end , but it will in some way focus ...
... plot , in some sense . This is merely the principle of change applied within the play itself , rather than from play to play . The plot need not be an Aristotelian one , with beginning , middle , and end , but it will in some way focus ...
Seite 54
... plot , " but exist in order to tran- scend it ; theatre exists to celebrate plot . Instead of an emphasis on what is eternal , the emphasis is on what is transitory — the shifting events in the lives of particular individuals . If one ...
... plot , " but exist in order to tran- scend it ; theatre exists to celebrate plot . Instead of an emphasis on what is eternal , the emphasis is on what is transitory — the shifting events in the lives of particular individuals . If one ...
Seite 165
... plot - in A Doll House , long after the forgery , after the husband's recovery , and just as the note is at last ... plots a coverup ) , and in which Nora herself , bitterly disappointed in Helmer and seeing her whole life in a new light ...
... plot - in A Doll House , long after the forgery , after the husband's recovery , and just as the note is at last ... plots a coverup ) , and in which Nora herself , bitterly disappointed in Helmer and seeing her whole life in a new light ...
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