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Page 32
... eyes , and that the noble characters must be noble even in the eyes of their wicked enemies . " Shakespeare's art swings perpetually " between an advanced realism , unfettered by tradition , which allows characters instinctively ...
... eyes , and that the noble characters must be noble even in the eyes of their wicked enemies . " Shakespeare's art swings perpetually " between an advanced realism , unfettered by tradition , which allows characters instinctively ...
Page 297
... eyes that instinctively sought the cornice of the ceiling . My treatment of her wrists was so perfunctory that for a moment her eyes fluttered down to mine ; then sought the cornice again . It was only for an instant , yet something ...
... eyes that instinctively sought the cornice of the ceiling . My treatment of her wrists was so perfunctory that for a moment her eyes fluttered down to mine ; then sought the cornice again . It was only for an instant , yet something ...
Page 308
... eyes , and it may give you the measure of his forbidding eccentricity if I tell you that instead of wearing a glass - eye he had replaced the missing organ with a piece of oval gold . " Old Gold - eye " was not un- naturally his ...
... eyes , and it may give you the measure of his forbidding eccentricity if I tell you that instead of wearing a glass - eye he had replaced the missing organ with a piece of oval gold . " Old Gold - eye " was not un- naturally his ...
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