Theatrical Space in Ibsen, Chekhov, and Strindberg: Public Forms of Privacy |
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Page 6
... artistic signs . But it is only when we are aware of both of these simultaneous directions that the communication in the theatre becomes successful , or felicitous in the sense that the philosopher John Searle has argued that speech ...
... artistic signs . But it is only when we are aware of both of these simultaneous directions that the communication in the theatre becomes successful , or felicitous in the sense that the philosopher John Searle has argued that speech ...
Page 7
... artistic codes , each of which has its own individual features and basic conventions , which in themselves are quite complicated . The reason usually given by theatre people and scenographers for mixing painting with architecture is to ...
... artistic codes , each of which has its own individual features and basic conventions , which in themselves are quite complicated . The reason usually given by theatre people and scenographers for mixing painting with architecture is to ...
Page 9
... artistic sign that is very similar to the material object it depicts . The earlier discussion of the double perspective of the material object and the aesthetic framing of it as artistic sign has hopefully clarified this isomorphism ...
... artistic sign that is very similar to the material object it depicts . The earlier discussion of the double perspective of the material object and the aesthetic framing of it as artistic sign has hopefully clarified this isomorphism ...
Contents
The Focus in the Past | 13 |
The Mixed Interior and Exterior | 29 |
The Camera and the Aesthetics of Repetition | 49 |
Copyright | |
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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