Drama |
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Page 55
... tell us , that we may be more interested in them , and measure their weight in momentum , as much about them as he quickly can . He aims at telling us as definitely as possible their characters and circumstances . But Maeterlinck's ...
... tell us , that we may be more interested in them , and measure their weight in momentum , as much about them as he quickly can . He aims at telling us as definitely as possible their characters and circumstances . But Maeterlinck's ...
Page 154
... would give the impression that the character - drawing in it was of a subtlety and vividness to justify even Swin- burnian ecstasies , while suggesting , and for all my readers could tell , truthfully , that the play was 154.
... would give the impression that the character - drawing in it was of a subtlety and vividness to justify even Swin- burnian ecstasies , while suggesting , and for all my readers could tell , truthfully , that the play was 154.
Page 155
Desmond MacCarthy. readers could tell , truthfully , that the play was not only of the highest dramatic power but ... telling line or two I could convince my readers that char- acters who ought to go the way of all waxwork were really ...
Desmond MacCarthy. readers could tell , truthfully , that the play was not only of the highest dramatic power but ... telling line or two I could convince my readers that char- acters who ought to go the way of all waxwork were really ...
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