Drama, Metadrama and PerceptionBucknell University Press, 1986 - 189 Seiten |
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Seite 54
... theatre , by contrast , change is not presented in a quick or perfunctory fashion ; rather than focusing on a static background , plays focus on the very process of change itself . Ceremonies have a " plot , " but exist in order to tran ...
... theatre , by contrast , change is not presented in a quick or perfunctory fashion ; rather than focusing on a static background , plays focus on the very process of change itself . Ceremonies have a " plot , " but exist in order to tran ...
Seite 55
... theatre becomes ritualized , because the plays become fixed . In dynamic societies , on the other hand , ritual often becomes theatre , as probably really did happen with the ancient Greeks or the medieval Christians , both of whose ...
... theatre becomes ritualized , because the plays become fixed . In dynamic societies , on the other hand , ritual often becomes theatre , as probably really did happen with the ancient Greeks or the medieval Christians , both of whose ...
Seite 101
... theatres , or , more frequently , in university theatres , the audience is more likely to be merely bewildered than to experience a special insight . They do not know the theatre well enough to comprehend an attack on it . Thus , while ...
... theatres , or , more frequently , in university theatres , the audience is more likely to be merely bewildered than to experience a special insight . They do not know the theatre well enough to comprehend an attack on it . Thus , while ...
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