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Page 23
... impression , though that impression may not be æsthetically or intel- lectually worth much . The advantage of Mr. Poel's archæological method of Shakespearean production is that it prevents the spectator taking the realistic point of ...
... impression , though that impression may not be æsthetically or intel- lectually worth much . The advantage of Mr. Poel's archæological method of Shakespearean production is that it prevents the spectator taking the realistic point of ...
Page 36
... impression . Had the producer been look- ing on he would have seen this instantly . The part of William Shakespeare , which is a monotonous one , requires a mercurial alertness to be tolerable . Mr. Harcourt Williams is lacking in grace ...
... impression . Had the producer been look- ing on he would have seen this instantly . The part of William Shakespeare , which is a monotonous one , requires a mercurial alertness to be tolerable . Mr. Harcourt Williams is lacking in grace ...
Page 103
... impression he makes at such times on others by writing letters , in which she intimates that she fears he is not in his right mind . Their last doctor , however , had seen that he was funda- mentally sane , so by making this man's life ...
... impression he makes at such times on others by writing letters , in which she intimates that she fears he is not in his right mind . Their last doctor , however , had seen that he was funda- mentally sane , so by making this man's life ...
Contents
THE PRODUCTION OF POETIC DRAMA February | 3 |
The Death of Tintagiles December 27th 1913 | 54 |
DRAMA AND DOSTOEVSKY The Idiot Septem | 91 |
Copyright | |
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acter actors actress admirable Apple Cart artist audience beauty better Cæsar char character comedy course criticism curtain Cymbeline dark 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 interpretation 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 wonder words write young youth