Theatrical Space in Ibsen, Chekhov, and Strindberg: Public Forms of Privacy

action actor actually aesthetic artistic aspects attention audience becomes called camera central chapter characters Chekhov claims close communication completely continuity conventions course death developed directions directly doors dramas drawing Dream Duck effect event example experience expression expressionistic fact fictional world finally focal point framing front function Ghost gradually guilt Hedda hero Ibsen identification identity images important individual inner interpretation involved Julie kind leads live material meaning method Miss moral nature noted object painting past perceived perception performance perspective play point of view possible presented production reach realistic theatre reality realized reasons relation relationship repetition represented respect ritual role scene scenographic seen sense situated social space spectator sphere stage Strindberg struggle takes techniques theatrical Three Sisters tradition turn understanding usually vision visual wall whole window