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Page 8
... seem the right inspiration for the consonant setting of some of the plays , but not , I think , of all . Parts of Mr ... seems to me , the principle of con- sonance and subordination as flimsy and unimpor- tant compared with producing a ...
... seem the right inspiration for the consonant setting of some of the plays , but not , I think , of all . Parts of Mr ... seems to me , the principle of con- sonance and subordination as flimsy and unimpor- tant compared with producing a ...
Page 272
... seems to me ridiculous ; but in a " Chronicle Play " to put in Cæsar's mouth those parting words " Ah ! I knew there was something . How could you let me forget her , Rufio ? " seems as wrong in the opposite direction . But , says Mr ...
... seems to me ridiculous ; but in a " Chronicle Play " to put in Cæsar's mouth those parting words " Ah ! I knew there was something . How could you let me forget her , Rufio ? " seems as wrong in the opposite direction . But , says Mr ...
Page 369
... seems to glide softly at its own sweet will , yet turns the touching awkwardness of natural caresses and distracted distress into gestures that an artist must long to perpetuate . It seems so little like acting that compared with it the ...
... seems to glide softly at its own sweet will , yet turns the touching awkwardness of natural caresses and distracted distress into gestures that an artist must long to perpetuate . It seems so little like acting that compared with it 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