Drama Stage and AudienceCambridge University Press, 25 באפר׳ 1975 - 256 עמודים This book shows how a play 'works' in the theatre: how it generates life, meaning and excitement on the stage for the audience. It is self evident that a play must communicate or it is not a play at all. Professor Styan argues that, while communication in drama begins with the script, the value or power of a play must be tested upon an audience. In the theatre experience, it is not so much the elements of drama on the stage or the perceptions of the audience which are important, as the relationships between them. It follows that the study of drama is the study of how the stage compels its audience to be involved in its actual processes; it is a study of a particular social situation. Professor Styan discusses in detail the particular social situation, conditions of performance and physical playhouse in which a play thrives. There is a wealth of examples from all periods of Western drama. He especially deals with plays which make no pretence to 'realism', and much of the discussion turns upon the power and success of Shakespeare as a playwright. This book will appeal to students, actors and directors of drama, as well as the theatregoers. Professor Styan's insistence on criticism based on the theatrical experience will make this an important book for other drama critics. |
תוכן
Communication in drama | 1 |
Dramatic signals | 31 |
Genre and style | 68 |
Conditions of performance | 108 |
Acting and roleplaying | 141 |
Nonillusory theatre | 180 |
Audience | 224 |
242 | |
247 | |
מהדורות אחרות - הצג הכל
מונחים וביטויים נפוצים
action actor audience's Brecht burlesque Cesario character clowns comedy comic Commedia Commedia dell'arte convention costume Cressida criticism dance death device drama elements Elizabethan audience Elizabethan theatre essential experience eyes Falstaff farce feeling fool genre gesture girl Greek Hamlet Iago illusion imagination impersonal joke Jonson's kind King King Lear kiss Lady Macbeth laugh laughter Lear lines lovers Marlow mask meaning Measure for Measure medieval melodrama Midsummer Night's Dream mind mode modern Molière moral nature non-illusory theatre Olivia on-stage audience Orlando Othello pattern perception performance Peter Brook Pirandello play's players playhouse playwright realistic reality response Restoration comedy Richard Southern ritual role role-playing Rosalind scene script seems sense Shakespeare signals social soliloquy song speaks spectator speech stage and audience style suggests Susanne Langer theatrical thou tion tone tragedy tragic Troilus and Cressida Twelfth Night Viola voice watch Witches words