The Making of Theatre HistoryPAUL KURITZ, 1988 - 468 sidor |
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Magic and Ritual | 6 |
GREECE 15 | 17 |
The Cult of Dionysus and the Emergence | 19 |
Music and Dance | 25 |
The Atellan Farce | 41 |
Social Status of the Actor | 47 |
ROME 36 | 53 |
New Religions Rival the Old Theatre | 59 |
The Theatrical Revolution | 159 |
Serlio | 166 |
FRANCE | 197 |
Reason and Industry | 203 |
Social Revolution | 209 |
LOpéra | 215 |
Cavalier Culture | 239 |
Notes | 251 |
The Actors Technique | 66 |
Performance | 72 |
CHINA | 83 |
Society on Stage | 85 |
Acting in the Beijing Opera | 91 |
The Golden Age and a New Drama 99 | 115 |
Enduring NonChristian Rituals | 121 |
Tropes | 127 |
Drama in the Religious Controversy | 147 |
OVERVIEW | 153 |
Transcendental Aesthetics | 256 |
Dramatic Texts | 262 |
OVERVIEW 252 | 276 |
AMERICA | 284 |
ActorManagers | 299 |
OVERVIEW | 305 |
Photography | 311 |
FRANCE | 318 |
Problem Plays | 327 |
85 | 408 |
Vanliga ord och fraser
acting action actors aesthetic American Antonin Artaud artists atre audience became began Beijing opera born bourgeois Brecht Buddhism century characters Charles Chinese Christian church classical Comédie Française comedy comic commedia dell'arte costume court created culture dance Daoism David Garrick developed dience Dionysus drama dramatic theatre Edmund Kean emotion England English entertainment epic festivals France French German Greek Henry hero human Ibsen ideal ideas Indian individuals Italian Japanese Jews John Philip Kemble kabuki King kyogen Lilly Library lived masks medieval ment modern theatre Molière moved nature neo-classical opera painted passion performance players plays playwright plot poet political popular Press produced realistic reality reigned religious Renaissance revolution Richard III ritual roles romantic romanticism Russian scene scenery Shakespeare social society space stage style symbols theatre's theatrical tion tragedy troupes truth ture University Western William women write wrote York zaju Zeami