Theatrical Space in Ibsen, Chekhov, and Strindberg: Public Forms of Privacy |
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Page 26
... actual theatrical performance of these plays be- cause Hedda and Hedvig are cut off from the other characters in the plays as well as from the view of the audience . In The Wild Duck , for example , the fact that the fantasy forest and ...
... actual theatrical performance of these plays be- cause Hedda and Hedvig are cut off from the other characters in the plays as well as from the view of the audience . In The Wild Duck , for example , the fact that the fantasy forest and ...
Page 31
... plot where Chekhov had almost none . In the second act of The Cherry Orchard , for example , Stanislavski wanted to include the passing of an actual train . Chekhov answered politely , " If you can get the train Chekhov 31.
... plot where Chekhov had almost none . In the second act of The Cherry Orchard , for example , Stanislavski wanted to include the passing of an actual train . Chekhov answered politely , " If you can get the train Chekhov 31.
Page 34
... actual playing area . The issue of how the social world of the play is to be presented is , however , not only a practical stage problem . It actually touches upon the core of narrative technique in the theatre developed by the realists ...
... actual playing area . The issue of how the social world of the play is to be presented is , however , not only a practical stage problem . It actually touches upon the core of narrative technique in the theatre developed by the realists ...
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