Popular Appeal in English Drama to 1850Macmillan, 1982 - 221 Seiten This book discusses the importance of music-hall to the development of English drama, and many music-hall acts are analysed, a number with reference to the responses of the audience before whom they were recorded. The different but related dramatic techniques of epic drama and the music-hall tradition are considered with reference to the work of T.S. Eliot, Thornton Wilder, Beckett, Osborne, Arden, Pinter, Albee, Griffiths and Nichols. Finally, the phenomenon of abusing the audience is discussed, particular reference being made to Handke's "Offending the Audience" and the Royal Shakespeare Company's "US". |
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Seite 47
... audience there is no one else on the stage to bear witness who has the money . This appeal to the audience to bear witness is also to be found in Fulgens and Lucres when B has persuaded Joan to kiss him and at that moment A enters . He ...
... audience there is no one else on the stage to bear witness who has the money . This appeal to the audience to bear witness is also to be found in Fulgens and Lucres when B has persuaded Joan to kiss him and at that moment A enters . He ...
Seite 63
... audience . The technique is an expansion of the comic routine in which two or more clowns will address each other , being ' overheard ' by the audience , and will in the same routine address the audience directly . The use of this ...
... audience . The technique is an expansion of the comic routine in which two or more clowns will address each other , being ' overheard ' by the audience , and will in the same routine address the audience directly . The use of this ...
Seite 64
... audience to his point of view with the result that even an audience which knows what is to happen will laugh at the Prince's discomfiture . This is nothing to do with the lines written . It stems from the contrast between the ...
... audience to his point of view with the result that even an audience which knows what is to happen will laugh at the Prince's discomfiture . This is nothing to do with the lines written . It stems from the contrast between the ...
Inhalt
The Medieval Tradition | 12 |
Shakespeare and the Comics | 34 |
Jonson and his Contemporaries | 79 |
Urheberrecht | |
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