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Page 34
... sense results without it . And whether a sense results must be ascer- tained from the point of view not of our time but of the Eliza- bethan age and in connection with the whole of Shakespeare's dramatic activity . Here the necessity of ...
... sense results without it . And whether a sense results must be ascer- tained from the point of view not of our time but of the Eliza- bethan age and in connection with the whole of Shakespeare's dramatic activity . Here the necessity of ...
Page 146
... sense Signor D'Annunzio is magnificently sincere in his interests , his admirations , his tastes , but he remains superficial . Except where the senses are directly concerned , he plays chiefly upon the prestige values of things . Gold ...
... sense Signor D'Annunzio is magnificently sincere in his interests , his admirations , his tastes , but he remains superficial . Except where the senses are directly concerned , he plays chiefly upon the prestige values of things . Gold ...
Page 224
... sense of prob- ability are rare . It is easily cultivated by any- one willing to extirpate in himself or herself rational diffidence and a lurking respect for truth . How superficial a quality cleverness is , becomes obvious to us when ...
... sense of prob- ability are rare . It is easily cultivated by any- one willing to extirpate in himself or herself rational diffidence and a lurking respect for truth . How superficial a quality cleverness is , becomes obvious to us when ...
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