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Page 119
... dialogue , of preserving the triviality and broken rhythms of ordinary talk and still making every word significant of character , and those group relations and larger processes which George Calderon noted . It was easier , or perhaps ...
... dialogue , of preserving the triviality and broken rhythms of ordinary talk and still making every word significant of character , and those group relations and larger processes which George Calderon noted . It was easier , or perhaps ...
Page 182
... dialogue . Miss Julie was preceded by The Pariah . And here I must remark upon the nature of these per- formances at Play Room Six . You find yourself in a little room in front of a tiny stage ; and if you are in the first three or four ...
... dialogue . Miss Julie was preceded by The Pariah . And here I must remark upon the nature of these per- formances at Play Room Six . You find yourself in a little room in front of a tiny stage ; and if you are in the first three or four ...
Page 222
... dialogue , subtends towards proving that this concentrated devotion has been very bad for the boys and very bad for their mother's character . It turns them into muffs incapable of falling wholeheartedly in love ; it creates in her an ...
... dialogue , subtends towards proving that this concentrated devotion has been very bad for the boys and very bad for their mother's character . It turns them into muffs incapable of falling wholeheartedly in love ; it creates in her an ...
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