Theatrical Space in Ibsen, Chekhov, and Strindberg: Public Forms of Privacy |
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Page 25
... guilt for not fixing a crack in the tower of his own home , a lapse which indirectly caused the death of his own children . Not only is the correspondence between the focal point and past guilt clear ; it should also be noted that these ...
... guilt for not fixing a crack in the tower of his own home , a lapse which indirectly caused the death of his own children . Not only is the correspondence between the focal point and past guilt clear ; it should also be noted that these ...
Page 67
... guilt resulting from this union that led her to a state of death and madness . Only through a mock reunion with her former lover , Hummel - who having killed the milkmaid is even more guilt - ridden than she can she now be released from ...
... guilt resulting from this union that led her to a state of death and madness . Only through a mock reunion with her former lover , Hummel - who having killed the milkmaid is even more guilt - ridden than she can she now be released from ...
Page 83
... guilt is transferred to the victim in the very act of framing the event as a fictional event . 24 In his introduction to Strindberg's short novel , The Scapegoat ( 1907 ) , Richard Vowles claims that The idea of the scapegoat ...
... guilt is transferred to the victim in the very act of framing the event as a fictional event . 24 In his introduction to Strindberg's short novel , The Scapegoat ( 1907 ) , Richard Vowles claims that The idea of the scapegoat ...
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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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