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Page 16
... interpreted . The conductor must carry the whole of it in his head , and according to his interpretation he will modify the prominence of this passage , or bring out the quality of that instrument at such and such a moment , knowing in ...
... interpreted . The conductor must carry the whole of it in his head , and according to his interpretation he will modify the prominence of this passage , or bring out the quality of that instrument at such and such a moment , knowing in ...
Page 112
... interpretation of the first act is correct ( and I cannot doubt it ) , the criticism which has been brought against Mr. Playfair , the producer , that the scene was too vulgar , too like “ Maxim's ' is not fair . Such was the intention ...
... interpretation of the first act is correct ( and I cannot doubt it ) , the criticism which has been brought against Mr. Playfair , the producer , that the scene was too vulgar , too like “ Maxim's ' is not fair . Such was the intention ...
Page 154
... interpretation . Ever since Charles Lamb picked out the fine or lovely passages from the Elizabethan dramatists it hasbeenthemark ofliterary sensibility andscholarship to pitch the note of praise absurdly high . This praise can be made ...
... interpretation . Ever since Charles Lamb picked out the fine or lovely passages from the Elizabethan dramatists it hasbeenthemark ofliterary sensibility andscholarship to pitch the note of praise absurdly high . This praise can be made ...
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