Drama, Metadrama and PerceptionAssociated University Presse, 1986 - 189 Seiten |
Im Buch
Ergebnisse 1-5 von 59
Seite 14
... become opposed in every conceivable way — in so- cial , economic , political , and personal contexts . Actually , however , a binary opposition may be inappropriate to the reality that it describes , leading to sterile , automatic ...
... become opposed in every conceivable way — in so- cial , economic , political , and personal contexts . Actually , however , a binary opposition may be inappropriate to the reality that it describes , leading to sterile , automatic ...
Seite 15
... becomes as artificial as the male / female opposition . Contemporary American directors and actors of Shake- speare , for example , have great difficulty with his plays because of being straitjacketed by realistic doctrine , which does ...
... becomes as artificial as the male / female opposition . Contemporary American directors and actors of Shake- speare , for example , have great difficulty with his plays because of being straitjacketed by realistic doctrine , which does ...
Seite 19
... becomes something solely and entirely existential , an idea that at times has struck me as pleasingly profound , and at other times as irritatingly vacuous . Implying that literature has nothing to do with everyday life or any immediate ...
... becomes something solely and entirely existential , an idea that at times has struck me as pleasingly profound , and at other times as irritatingly vacuous . Implying that literature has nothing to do with everyday life or any immediate ...
Seite 20
... become acceptable , no longer taboo , they lose their magical power of appearing to break through to a noumenal reality , which is why theatre artists in our century have so restlessly and endlessly sought new taboos to break . iii To ...
... become acceptable , no longer taboo , they lose their magical power of appearing to break through to a noumenal reality , which is why theatre artists in our century have so restlessly and endlessly sought new taboos to break . iii To ...
Seite 25
... become pernicious . All great drama is parody , but it is a parody of a complex and serious nature . In parodying ... becomes radical , not to reaffirm the social order but to hold it up for examination and — if his new vision catches on ...
... become pernicious . All great drama is parody , but it is a parody of a complex and serious nature . In parodying ... becomes radical , not to reaffirm the social order but to hold it up for examination and — if his new vision catches on ...
Inhalt
13 | |
29 | |
31 | |
The Ceremony within the Play | 49 |
Role Playing within the Role | 67 |
Literary and RealLife Reference within the Play | 88 |
SelfReference | 103 |
Drama and Perception | 119 |
Shakespeare As You Like It | 133 |
Buchner Woyzeck | 148 |
Strindberg The Father | 158 |
Ibsen The Master Builder | 164 |
Pinter Betrayal | 171 |
Afterword | 179 |
Works Cited | 181 |
Index | 185 |
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acting actor actually archetype Aristophanes artistic August Strindberg avant-garde background become Bertolt Brecht Brecht Büchner Captain century ceremony characters comedies contrast critics culture defined depicted device drama/culture complex dramatic illusion dream Duke estrangement Euripides example fact father feel Forest of Arden framed Freud Greek Hamlet human Ibsen identity inner play inset type intuitive Jaques Laius Laura literary reference literature live Macbeth main play means metadramatic Molière murder nature neurotic never Oedipus the King offstage Orlando Othello outer play parody perception performance person Pinter play's playwright plot primary process process thinking process thought production provides R. D. Laing real-life reference realistic reality recognize Richard Richard II ritual role playing Rosalind scene script seems self-reference sense sexual Shakespeare Similarly society Solness Solness's Sophocles speech stage Strindberg Teiresias theatre theatrical theory things Touchstone traditional tragedy turn unconscious unconscious mind Woyzeck York