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Page 125
... English lawns , in English houses ? Indeed , the main point of difference be- tween this spell - bound cultivated Russian society and the English variety is not in our favour . If Tchehov's intellectuals are half dead , the other half ...
... English lawns , in English houses ? Indeed , the main point of difference be- tween this spell - bound cultivated Russian society and the English variety is not in our favour . If Tchehov's intellectuals are half dead , the other half ...
Page 137
... English sensi- bility , and it is the finest quality in it , is the im- mense value it sets upon tenderness in this con- nection - a word which cannot be translated by " tendresse " ; that has either a too playful and ironical or too ...
... English sensi- bility , and it is the finest quality in it , is the im- mense value it sets upon tenderness in this con- nection - a word which cannot be translated by " tendresse " ; that has either a too playful and ironical or too ...
Page 312
... English audience to understand its merits , for , O'Casey's hero being a most unfortunate man , they naturally expected him to be lovable ! It is difficult for the English to under- stand , what is sun - clear to the Irish imagination ...
... English audience to understand its merits , for , O'Casey's hero being a most unfortunate man , they naturally expected him to be lovable ! It is difficult for the English to under- stand , what is sun - clear to the Irish imagination ...
Contents
THE PRODUCTION OF POETIC DRAMA February | 3 |
The Death of Tintagiles December 27th 1913 | 54 |
THE DRAMATIST OF THE FUTURE Ghosts | 61 |
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acter actors actress admirable Apple Cart artist audience beauty better Cæsar char character comedy course criticism curtain Cymbeline dark daughter death delight dialogue drama dramatist Duse effect emotion English excellent expression eyes father feel Fortune Theatre Franklin Dyall Galsworthy gestures girl Granville Barker Haggett Hamlet human husband Iago Ibsen imagination interest Joan Julius Cæsar kind last act live look lover Magda Maugham ment mind Miss modern moral moving nature never night Noel Coward once Othello passages passion pathos performance Pierrot play poet poetry producer realistic remember Rosmersholm Sacha Guitry Sarah Bernhardt scene sense sentiment Shakespeare Shaw Shaw's Shylock Sonya soul speak speech spirit stage Stephen Moor story Strindberg suggest sympathy Tchehov tell tenderness Theatre theme things thought tion touch tragedy turn Uncle Vanya Vanya voice Volpone wife woman words write young youth