Script Into Performance: A Structuralist Approach |
Contents
THEORETICAL DISCUSSION | 10 |
Critical Methods and Metamethods | 110 |
Shelleys The Cenci | 127 |
Copyright | |
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acting action actors actually aesthetic ambiguity approach Aristotle Aristotle's Artaud artistic audience Beatrice become Brecht character Cleanth Brooks complex concept considered costume Critical Methods Current Performance Theories director Doll House drama dramatic criticism elements ethical example extrinsic fact film Francis Fergusson function genre Hamlet Helmer Ibid Ibsen Ibsen's A Doll idea imagery implies important incidents Joey Kenneth Burke kind L. C. Knights Lenny literary literature Macbeth meaning Methods and Metamethods Moscow Art Theatre Naturalistic never Nora Nora's Northrop Frye particular patterns pauses philosophical Pinter's The Homecoming play playscript interpretation playtext playwright plot Poetics problem production rehearsal relationship Richard Schechner Ruth scene Schechner script sense Shakespeare Shelley Shelley's The Cenci simple speech stage directions Stanislavski Structuralism Structuralist Susanne Langer T. S. Eliot technique Teddy Text and Performance theatre theatrical theorists thing tion traditional Tragedy unifying principle unity wholistic Wilson Knight words writing