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Page 7
... stage conventions of Shake- speare's time , is so strange to ours that it needs a " complicated mental gymnastic " on our part " before we can begin to see and appreciate the play " . We must , however - this is granted - indi- cate ...
... stage conventions of Shake- speare's time , is so strange to ours that it needs a " complicated mental gymnastic " on our part " before we can begin to see and appreciate the play " . We must , however - this is granted - indi- cate ...
Page 92
... stage . Only on the Chinese stage , where a play is permitted to last a week or so , could the dramatist hope to produce the same result . Attempts to telescope Dostoevsky's intricate , impassioned conversations inevitably over ...
... stage . Only on the Chinese stage , where a play is permitted to last a week or so , could the dramatist hope to produce the same result . Attempts to telescope Dostoevsky's intricate , impassioned conversations inevitably over ...
Page 327
... stage usually concerns itself with people who are a little dull in mind . If we took a census of the stage - population over the last seven years , the proportion of characters with anything approaching to an intellect , would be lower ...
... stage usually concerns itself with people who are a little dull in mind . If we took a census of the stage - population over the last seven years , the proportion of characters with anything approaching to an intellect , would be lower ...
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