Theatrical Space in Ibsen, Chekhov, and Strindberg: Public Forms of Privacy |
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Page 24
... human psyche . The concern with presenting the inner private life of the mind in an outward objective artistic form created a number of technical and aesthetic problems . The expressionistic theatre , as well as the movie in all its ...
... human psyche . The concern with presenting the inner private life of the mind in an outward objective artistic form created a number of technical and aesthetic problems . The expressionistic theatre , as well as the movie in all its ...
Page 65
... human condition . Strindberg's characters are not so much motivated as individuals trying to find a solution to a personal biographical problem , like Ibsen's characters , as they are representative human types Strindberg 65.
... human condition . Strindberg's characters are not so much motivated as individuals trying to find a solution to a personal biographical problem , like Ibsen's characters , as they are representative human types Strindberg 65.
Page 66
Public Forms of Privacy Freddie Rokem. like Ibsen's characters , as they are representative human types caught in an ... humans . The sufferings of this world are a universal condition to which there is no solution , except in the ...
Public Forms of Privacy Freddie Rokem. like Ibsen's characters , as they are representative human types caught in an ... humans . The sufferings of this world are a universal condition to which there is no solution , except in the ...
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