Theatrical Space in Ibsen, Chekhov, and Strindberg: Public Forms of Privacy |
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Page 6
... aspect of theatrical communication but with the visual experience of the theatre , the visual aspect of ... aspects of the theatrical performance , including the scenography , also undergo framing . For the characters in the ...
... aspect of theatrical communication but with the visual experience of the theatre , the visual aspect of ... aspects of the theatrical performance , including the scenography , also undergo framing . For the characters in the ...
Page 18
Public Forms of Privacy Freddie Rokem. examination of the visual aspects of some of Ibsen's plays will show why the focal point as well as what it represents , as an aspect of the visual dimension , is an important clue for understanding ...
Public Forms of Privacy Freddie Rokem. examination of the visual aspects of some of Ibsen's plays will show why the focal point as well as what it represents , as an aspect of the visual dimension , is an important clue for understanding ...
Page 76
... aspects of the interpretation and communication taking place during the theatrical event . As spectators at a theatrical per- formance , we simultaneously perceive : 1. the fictive character clarifying the significance of his own ...
... aspects of the interpretation and communication taking place during the theatrical event . As spectators at a theatrical per- formance , we simultaneously perceive : 1. the fictive character clarifying the significance of his own ...
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