Drama |
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Page 87
... emotion and revelation of character . In The Cherry Orchard it is only part of a consistent perfection . There is not five minutes space anywhere in the dialogue , which would not , like a drop beneath a microscope , be found swarming ...
... emotion and revelation of character . In The Cherry Orchard it is only part of a consistent perfection . There is not five minutes space anywhere in the dialogue , which would not , like a drop beneath a microscope , be found swarming ...
Page 276
... emotions himself ; and further , having done so , he must not loathe them as some people loathe amorous emotions after having been dipped in them . He may distrust religious emotion , he may dislike exceedingly many of its manifesta ...
... emotions himself ; and further , having done so , he must not loathe them as some people loathe amorous emotions after having been dipped in them . He may distrust religious emotion , he may dislike exceedingly many of its manifesta ...
Page 369
... emotions are again in action . Poets and critics have made famous the beauty of her expressive hands . Watch them ... emotion , may portray only a waiting blankness , the tremor of passion already speaks through her body ; so that she ...
... emotions are again in action . Poets and critics have made famous the beauty of her expressive hands . Watch them ... emotion , may portray only a waiting blankness , the tremor of passion already speaks through her body ; so that she ...
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