Drama, Metadrama and PerceptionAssociated University Presse, 1986 - 189 Seiten |
Im Buch
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Seite 14
... person " is to acting " in style , " as being " close to " life is to being " far from " life , as Stanislavski is to Brecht , as Ibsen is to Maeterlinck , as Marlon Brando is to Laurence Olivier . These paralleled oppositions , along ...
... person " is to acting " in style , " as being " close to " life is to being " far from " life , as Stanislavski is to Brecht , as Ibsen is to Maeterlinck , as Marlon Brando is to Laurence Olivier . These paralleled oppositions , along ...
Seite 15
... person , " etc. , but also by its oppositions , so that we can say that realism is not far from life , not stylized , etc. Indeed , polar terms tend to be more strongly defined by their opposites than by their parallels . One cannot ...
... person , " etc. , but also by its oppositions , so that we can say that realism is not far from life , not stylized , etc. Indeed , polar terms tend to be more strongly defined by their opposites than by their parallels . One cannot ...
Seite 19
... person . Furthermore , the notion of creative passivity leads to questions about artistic value . If a knowledge of archetypes is all that is required to write a good play , why are more good plays not written ? Why is it that when I ...
... person . Furthermore , the notion of creative passivity leads to questions about artistic value . If a knowledge of archetypes is all that is required to write a good play , why are more good plays not written ? Why is it that when I ...
Seite 20
... person has the intuitive grasp to be able to use the entire , universal system in a dynamic way . This " universal system , " consisting of all the systems of meaning by which a society thinks and acts , is what is commonly known as a ...
... person has the intuitive grasp to be able to use the entire , universal system in a dynamic way . This " universal system , " consisting of all the systems of meaning by which a society thinks and acts , is what is commonly known as a ...
Seite 50
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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