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Page 58
... reason why we could not feel to the full the emotions which the play is capable of conveying . To trace what I think was the second reason why the performance did not rise much above mediocrity I must fetch a second , though a smaller ...
... reason why we could not feel to the full the emotions which the play is capable of conveying . To trace what I think was the second reason why the performance did not rise much above mediocrity I must fetch a second , though a smaller ...
Page 133
... reason why melodrama is so often ridiculous is that the men and women to whom tremendous opportunities for showing emotion occur have been presented first as precisely those types who would , in such circumstances , be hopelessly ...
... reason why melodrama is so often ridiculous is that the men and women to whom tremendous opportunities for showing emotion occur have been presented first as precisely those types who would , in such circumstances , be hopelessly ...
Page 274
... reason . And that is the passion which I read in Cæsar's career . His ambition coincided to a large extent with the necessities of the world ; but the driving force in him was not so much a love of reason and order as the desire of the ...
... reason . And that is the passion which I read in Cæsar's career . His ambition coincided to a large extent with the necessities of the world ; but the driving force in him was not so much a love of reason and order as the desire of the ...
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