Theatrical Space in Ibsen, Chekhov, and Strindberg: Public Forms of Privacy |
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Page 26
... truth and Doctor Relling , who accepts compromise as a way of life . We in the audience are in this way afforded a comfortable distance from the illusions and lies that led to the tragic events in the play . We are , therefore , able to ...
... truth and Doctor Relling , who accepts compromise as a way of life . We in the audience are in this way afforded a comfortable distance from the illusions and lies that led to the tragic events in the play . We are , therefore , able to ...
Page 66
... truth lies beyond life.27 The visual representation in this case , too , is of course parallel to an elaboration of the theme on the textual level . One way of stating it is that behind the façade of appearances a very different truth ...
... truth lies beyond life.27 The visual representation in this case , too , is of course parallel to an elaboration of the theme on the textual level . One way of stating it is that behind the façade of appearances a very different truth ...
Page 70
... truth can supposedly be reached . But the living can have no access to it . In its unattainability it resembles the frustrated attempts of Didi and Gogo to reach the world of Godot , which is beyond where they are now . Strindberg ...
... truth can supposedly be reached . But the living can have no access to it . In its unattainability it resembles the frustrated attempts of Didi and Gogo to reach the world of Godot , which is beyond where they are now . Strindberg ...
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