Theatrical Space in Ibsen, Chekhov, and Strindberg: Public Forms of Privacy |
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Page 23
... accept the prospects of a " happy " bourgeois future , the vocation she is brought up to fulfill , she refuses to take on the responsibility of childbearing . A she's ? future child would invade the most private of her territories , her ...
... accept the prospects of a " happy " bourgeois future , the vocation she is brought up to fulfill , she refuses to take on the responsibility of childbearing . A she's ? future child would invade the most private of her territories , her ...
Page 50
... accept the aesthetic limitations of the theatre concerning how and to what extent the inner privacy of the mind can be presented to an audience at a live performance , it seems that the methods of pres- entation and perception developed ...
... accept the aesthetic limitations of the theatre concerning how and to what extent the inner privacy of the mind can be presented to an audience at a live performance , it seems that the methods of pres- entation and perception developed ...
Page 65
... accept the premises and the pres- entation , is a universal Sisyphian limbo , not just a psychological probing into the tragic past of an individual . One of the features of this Strindberg- ian condition humaine is that the heroes are ...
... accept the premises and the pres- entation , is a universal Sisyphian limbo , not just a psychological probing into the tragic past of an individual . One of the features of this Strindberg- ian condition humaine is that the heroes are ...
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