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Page 5
... producer can do nothing more for them than that ; he cannot be ex- pected to consider people who want only to use their ears in the theatre . But , clearly if we are to be left to a great extent fancy free , the staging of poetic drama ...
... producer can do nothing more for them than that ; he cannot be ex- pected to consider people who want only to use their ears in the theatre . But , clearly if we are to be left to a great extent fancy free , the staging of poetic drama ...
Page 7
... producer " decorates " , intead of " illustrates " , he is calling in a conflicting element of beauty . How can we ... producers are agreed that it should be beau- tiful ; where they differ is in what they consider to be consonant beauty ...
... producer " decorates " , intead of " illustrates " , he is calling in a conflicting element of beauty . How can we ... producers are agreed that it should be beau- tiful ; where they differ is in what they consider to be consonant beauty ...
Page 167
... producer can insist on their being so suggested that , at least , the intelligence grasps their contribution to the drama as a whole , even though , emotionally considered , they are themselves non - conductors . Now , the great merit ...
... producer can insist on their being so suggested that , at least , the intelligence grasps their contribution to the drama as a whole , even though , emotionally considered , they are themselves non - conductors . Now , the great merit ...
Contents
THE PRODUCTION OF POETIC DRAMA February | 3 |
The Death of Tintagiles December 27th 1913 | 54 |
ACTORS AND ACTRESSES | 74 |
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acters actors actress admirable Alfred Reynolds Apple Cart artist audience beauty better Cæsar char character comedy course criticism curtain daughter death delight dialogue Dinner at Eight doctor drama dramatist Duse effect emotion English enjoy Enriquetta excellent exciting expression eyes father feel Fortune Theatre Franklin Dyall Galsworthy gestures girl Granville Granville Barker Haggett Hamlet human husband Iago Ibsen imagination interest Ivanoff Joan Julius Cæsar kind last act live look lover Magda Maugham ment mind Miss modern moral nature never Noel Coward once Othello passion pathos performance play poetry Rosmersholm Sarah Bernhardt scene sense sentimental Shakespeare Shaw Shaw's Sheppey Shylock Sonya speak speech spirit stage Stephen Moor story Strindberg suggest sympathy talk Tchehov tenderness Theatre theme thing thought tion touch tragedy turn Uncle Vanya Vanya voice Volpone wife woman words write young youth