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Page 271
... Shaw about the character of Julius Cæsar , and respectfully begged for an interview . The answer , more considerately worded , was to the effect that the Muse of History herself could not possibly see anyone who had merely pecked about ...
... Shaw about the character of Julius Cæsar , and respectfully begged for an interview . The answer , more considerately worded , was to the effect that the Muse of History herself could not possibly see anyone who had merely pecked about ...
Page 272
... Shaw ! Anybody might make that error . The question under discussion is this : if the subject of a play is the love affair between Cleopatra and Cæsar , ought not something to tran- spire which would prevent even dramatic critics from ...
... Shaw ! Anybody might make that error . The question under discussion is this : if the subject of a play is the love affair between Cleopatra and Cæsar , ought not something to tran- spire which would prevent even dramatic critics from ...
Page 274
... Shaw did not take my point about the effect of transferring Cæsar's words to Metellus to the mouth of his own Cæsar . I did not object to his Cæsar because he was " squeamish about killing people " ( though I think the real Cæsar tended ...
... Shaw did not take my point about the effect of transferring Cæsar's words to Metellus to the mouth of his own Cæsar . I did not object to his Cæsar because he was " squeamish about killing people " ( though I think the real Cæsar tended ...
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