The Science of Playwriting, Količina 10Brentano's, 1925 - 356 strani |
Pogosti izrazi in povedi
ABIE Abie's Irish Rose acter action Algebraic Formula audience Barrett H basic character basic dramaturgical basic emotion basic theme Brockton causative character char character personifies Cheating Cheaters Clark's European Theories climax comes complication and/or intrigue complication arises complication grows constituting the theme craftsman crisis arises crisis comes crucible daughter derivative situation dialogue Doll's House dominant emotion drama dramaturgical egotism elements of conflict emotion or theme episode FATHER WHALEN girl Hedvig husband idea INCIDENTAL DETAILED CONSTRUCTION jealousy Jeffcote Julia Lady Windemere's Fan Madras House marry metaphysical Monsieur DuPont mother narrative Nora organic structure orientation Oswald PATRICK Pay Old Debts person personifying deception personifying love personifying the basic Philip Madras pitted emotionally playwright playwriting plot or story primal cause ROSE MARY says scene secondary characters Silent Men SOLOMON sonifying subsidiary emotions theater thing tion Torvald unity Valley of Silent Warren's Profession Wedding Presents White Cargo wife Wild Duck woman
Priljubljeni odlomki
Stran 123 - Not to 20 repeat the same things over again, which have been said of the manners, I will only add what is necessary here. A character, or that which distinguishes one man from all others, cannot be supposed to consist of one particular virtue, or vice, or passion only...
Stran 34 - ... the other, that the world may not be deprived of improvements, nor the progress of the arts be retarded. The act that secures copyright to authors guards against the piracy of the words and sentiments, but it does not prohibit writing on the same
Stran 87 - The events themselves are immaterial, otherwise than as the clothing and manifestation of the spirit that is working within. In this mode, the unity resulting from succession is destroyed, but is supplied by a unity of a higher order, which connects the events by reference to the workers, gives a reason for them in the ..motives, and presents men in their causative character.
Stran 34 - We must take care to guard against two extremes equally prejudicial: The one that men of ability, who have employed their time for the service of the community, may not be deprived of their just merits and the reward of their ingenuity and labor; the other, that the world may not be deprived of improvements, nor the progress of the arts be retarded.
Stran 64 - Tis evident that the more the persons are, the greater will be the variety of the plot. If then the parts are managed so regularly, that the beauty of the whole be kept entire, and that the variety become not a perplexed and confused mass of accidents, you will find it infinitely pleasing to be led in a labyrinth of design, where you see some of your way before you, yet discern not the end till you arrive at it.
Stran 7 - some antagonistic person, or circumstance, or fortune. It is often more intense when, as in CEdipus, the audience is aware of the obstacle, and the person himself, or persons, on the stage are unaware of it. Drama arises thus, and continues when or till the person or persons are aware of the obstacle; it is sustained so long as we watch the reaction, physical, mental, or spiritual, of the person or persons to the opposing person, or circumstance, or fortune.
Stran 206 - The idiot, the patch, the slave, the booby, The property fit only to be beaten For your morning exercise," your "football," or "The unprofitable lump of flesh...
Stran 253 - NORA. Yes, we did. It wasn't easy to manage, I can tell you. It was just after Ivar's birth. But of course we had to go. Oh, it was a wonderful, delicious journey!
Stran 163 - Drama is a representation of the will of man in conflict with the mysterious powers or natural forces which limit and belittle us; it is one of us thrown living upon the stage, there to struggle against fatality, against social law, against one of his fellow-mortals, against himself, if need be, against the ambitions, the interests, the prejudices, the folly, the malevolence of those who surround him.
Stran 5 - story " twenty different ways, fifty excursions, alternatives, excrescences, and the novel, as largely practised in English, is the perfect paradise of the loose end. The play consents to the logic of but one way, mathematically right, and with the loose end as gross an impertinence on its surface, and as grave a dishonour, as the dangle of a snippet of silk or wool on the right side of a tapestry.