Theatrical Space in Ibsen, Chekhov, and Strindberg: Public Forms of Privacy |
From inside the book
Results 1-3 of 12
Page 33
... Simov also express the multidimen- sional complexity found on the levels of action — paralysis ( non - action ) , characterization and theme . Stanislavski , who was responsible for the production as a whole , instructed Simov to ...
... Simov also express the multidimen- sional complexity found on the levels of action — paralysis ( non - action ) , characterization and theme . Stanislavski , who was responsible for the production as a whole , instructed Simov to ...
Page 35
... Simov sets for The Three Sisters . The first thing that should be noted is that Simov opened up the sets in a number of directions . This simple fact already points at the difference between Chekhov's multidimensionality and the one ...
... Simov sets for The Three Sisters . The first thing that should be noted is that Simov opened up the sets in a number of directions . This simple fact already points at the difference between Chekhov's multidimensionality and the one ...
Page 40
... Simov's scenographic interpre- tation of the play brings out important aspects of its meaning . Simov's sets constitute an important turning point in the history of the modern theatre . Simov's designs for act 3 and act 4 of The Three ...
... Simov's scenographic interpre- tation of the play brings out important aspects of its meaning . Simov's sets constitute an important turning point in the history of the modern theatre . Simov's designs for act 3 and act 4 of The Three ...
Contents
The Focus in the Past | 13 |
The Mixed Interior and Exterior | 29 |
The Camera and the Aesthetics of Repetition | 49 |
Copyright | |
3 other sections not shown
Common terms and phrases
action actor actually anagnorisis analyzed Artaud artistic audience August Strindberg becomes Brecht camera catharsis chapter Chekhov Chekhov and Strindberg Chekhov's plays close death developed dialectic doors dramatic drawing room Dream Play Ekdal expressionistic theatre fantasy fictional character fictional world fictive Fingal's cave focal point Foulstrand fourth wall function Ghost Sonata gradually guilt Hedda Gabler Hedda's room Hedvig Ibsen's plays identification identity images important individual inner interpretation Jauss Jean kind kitchen live MAT production material object metaphor metonymy Miss Julie moral Moscow Moscow Art Theatre one-point perspective orphanage painting past perceived perception photograph point of view presented realistic theatre reality relationship repetition role scene scenographic second act seen Simov spectator spectator's speech acts sphere Sprinchorn stage directions Stanislavski static struggle suicide techniques theatrical event theatrical performance theatrical sign theatrical space Three Sisters understanding usually veranda visual Werle Wild Duck window