Theatrical Space in Ibsen, Chekhov, and Strindberg: Public Forms of Privacy |
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Page 31
... imagination is reduced to silence , and no matter what the characters say about the landscape you do not believe them . It could never be what they describe . " 5 The directors opposing Stanislavski wished to emphasize the aesthetic ...
... imagination is reduced to silence , and no matter what the characters say about the landscape you do not believe them . It could never be what they describe . " 5 The directors opposing Stanislavski wished to emphasize the aesthetic ...
Page 45
... imagination clearly grew out of this tradition , which was also developed by the pièce bien faite tradition with its plants and green - room verandas that serve as mediators between the interior space of the drawing room and a ...
... imagination clearly grew out of this tradition , which was also developed by the pièce bien faite tradition with its plants and green - room verandas that serve as mediators between the interior space of the drawing room and a ...
Page 75
... imagination who has not at one time been captivated by the enchantment of the theatre , and desired to be himself carried away into the midst of that fictitious reality in order to see and hear himself as an alter ego , to dispense ...
... imagination who has not at one time been captivated by the enchantment of the theatre , and desired to be himself carried away into the midst of that fictitious reality in order to see and hear himself as an alter ego , to dispense ...
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