Drama, Metadrama and PerceptionAssociated University Presse, 1986 - 189 Seiten |
Im Buch
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Seite 16
... speech to the players , in which he advises them " to hold . . . the mirror up to nature " ( 3.2.20-2I ) , 4 familiar vet perplexing . Holding the mirror up to nature sounds Stanislavskian , vet the dramatic speeches that the players ...
... speech to the players , in which he advises them " to hold . . . the mirror up to nature " ( 3.2.20-2I ) , 4 familiar vet perplexing . Holding the mirror up to nature sounds Stanislavskian , vet the dramatic speeches that the players ...
Seite 19
... speech , dress , and gesture , as well as of artistic convention , political ideology , social convention , and religious belief . ( Both Barthes and Frye have maintained as much in their later work . ) This is the reason that a ...
... speech , dress , and gesture , as well as of artistic convention , political ideology , social convention , and religious belief . ( Both Barthes and Frye have maintained as much in their later work . ) This is the reason that a ...
Seite 33
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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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Häufige Begriffe und Wortgruppen
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