標(biāo)題: Titlebook: Introduction to French Classical Tragedy; C. J. Gossip Book 1981 Palgrave Macmillan, a division of Macmillan Publishers Limited 1981 antiq [打印本頁(yè)] 作者: CULT 時(shí)間: 2025-3-21 16:46
書目名稱Introduction to French Classical Tragedy影響因子(影響力)
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作者: 無(wú)彈性 時(shí)間: 2025-3-21 21:33 作者: 誘拐 時(shí)間: 2025-3-22 02:31
Staging,iorities was followed, quite unconsciously, in seventeenth-century France, since plays were not printed or sold until their first run in the theatre was at an end. Yet it is precisely the transfer from text to live stage which the academic study of drama in school or university finds most difficult 作者: Phonophobia 時(shí)間: 2025-3-22 05:39
Public,th one principal theatre at the beginning and another towards the end of the century, and at no time more than two playing tragedy with any regularity. Since we know little about the repertory and acting conditions of itinerant companies working the provinces and even less about those who came to se作者: 安定 時(shí)間: 2025-3-22 08:53
Publication,Bourgogne. Even assuming a good series of twenty or so performances and reasonably full houses at the first two or three of these at least, the number of people who witnessed the play remains relatively small—a few thousand at most. In a total population of twenty million, three-quarters of them cou作者: jaunty 時(shí)間: 2025-3-22 14:00 作者: Magnificent 時(shí)間: 2025-3-22 19:24
Form,tion of this matter into a form suitable for the stage. The present chapter and the next two deal with some of the problems a seventeenth-century French playwright had to face when carrying out this transformation. There is, of course, a fair amount of overlap between the items to be covered here, b作者: PRE 時(shí)間: 2025-3-22 23:46
Unities,all need to look at again in Chapter 11, is what lies behind the three unities, a set of rules (so-called) which was to exert some influence on the way seventeenth-century playwrights conceived of their task and which continues to puzzle English-speaking readers of French classical tragedy to this d作者: 雪上輕舟飛過(guò) 時(shí)間: 2025-3-23 02:51
Action and plot,s tragedies and the material incorporated into them. Other restrictions which dramatists had to cope with or get round will be mentioned later—the choice of language, the call for verisimilitude (probability, more or less), observance of the proprieties. And while it is the aim of this book to point作者: nitroglycerin 時(shí)間: 2025-3-23 09:00 作者: Banquet 時(shí)間: 2025-3-23 09:59
Language,while unavoidable restrictions (put to good use by the best dramatists) affected the amount of physical action depicted on stage and hence the contemporary audience’s understanding of the terms plot and action. Now in the . Aristotle is careful to suggest that language is secondary to plot and hence作者: 射手座 時(shí)間: 2025-3-23 17:31
Proprieties,that of what they called . (or .) and which is usually translated into English as ‘verisimilitude’. This desire to avoid showing what was, or might be judged, improbable and to insist on probability can be seen to fit in with several aims—with the ‘moral purpose’ which many dramatists said they gave作者: brachial-plexus 時(shí)間: 2025-3-23 20:46 作者: 記憶法 時(shí)間: 2025-3-24 00:59
Criticism, two steps in the production process: staging and publication. At each of these points the playwright can, if he so desires, make his influence felt, by instructing the actors on how their parts should be played and by revising his text for publication in the light of criticism or his own second tho作者: covert 時(shí)間: 2025-3-24 05:10 作者: ABASH 時(shí)間: 2025-3-24 06:44
Criticism, two steps in the production process: staging and publication. At each of these points the playwright can, if he so desires, make his influence felt, by instructing the actors on how their parts should be played and by revising his text for publication in the light of criticism or his own second thoughts.作者: 飲料 時(shí)間: 2025-3-24 11:46
Overview: 978-1-349-04518-1作者: 充滿裝飾 時(shí)間: 2025-3-24 18:52
https://doi.org/10.1007/978-3-662-37872-4 two steps in the production process: staging and publication. At each of these points the playwright can, if he so desires, make his influence felt, by instructing the actors on how their parts should be played and by revising his text for publication in the light of criticism or his own second thoughts.作者: 聯(lián)邦 時(shí)間: 2025-3-24 19:50
,überlegungen vor der Anaesthesie,l recent English books, among them Will G. Moore’s . (1971) and the relevant chapters of Geoffrey Brereton’s . (1973), as well as in Jacques Truchet’s thought-provoking study . (1975). The need to reinterpret literature of the past, whether in the light of fresh evidence or because new critics or re作者: Fecundity 時(shí)間: 2025-3-25 00:47 作者: BOOST 時(shí)間: 2025-3-25 06:37
https://doi.org/10.1007/978-3-7091-8029-7iorities was followed, quite unconsciously, in seventeenth-century France, since plays were not printed or sold until their first run in the theatre was at an end. Yet it is precisely the transfer from text to live stage which the academic study of drama in school or university finds most difficult 作者: 苦澀 時(shí)間: 2025-3-25 09:12
Die Praxis der Negativ-Entwicklungstechnik,th one principal theatre at the beginning and another towards the end of the century, and at no time more than two playing tragedy with any regularity. Since we know little about the repertory and acting conditions of itinerant companies working the provinces and even less about those who came to se作者: 贊美者 時(shí)間: 2025-3-25 13:04
Ein homosexueller Barockmensch,Bourgogne. Even assuming a good series of twenty or so performances and reasonably full houses at the first two or three of these at least, the number of people who witnessed the play remains relatively small—a few thousand at most. In a total population of twenty million, three-quarters of them cou作者: 變態(tài) 時(shí)間: 2025-3-25 19:00
Die Technik der Starrflügler-Drohnenconditions but also by happenings in the near or distant past, recorded in the history books. Yet it is difficult, indeed dangerous, for the modern reader to try to draw parallels between literature and what we at present know of contemporary events, between characters in fiction and named individua作者: 煩憂 時(shí)間: 2025-3-25 21:15
Die Technik der Starrflügler-Drohnention of this matter into a form suitable for the stage. The present chapter and the next two deal with some of the problems a seventeenth-century French playwright had to face when carrying out this transformation. There is, of course, a fair amount of overlap between the items to be covered here, b作者: 容易懂得 時(shí)間: 2025-3-26 03:24 作者: Affectation 時(shí)間: 2025-3-26 05:05 作者: Abrade 時(shí)間: 2025-3-26 08:51 作者: KEGEL 時(shí)間: 2025-3-26 16:38
https://doi.org/10.1007/978-3-662-36852-7while unavoidable restrictions (put to good use by the best dramatists) affected the amount of physical action depicted on stage and hence the contemporary audience’s understanding of the terms plot and action. Now in the . Aristotle is careful to suggest that language is secondary to plot and hence作者: 仔細(xì)閱讀 時(shí)間: 2025-3-26 17:49
https://doi.org/10.1007/978-3-662-36849-7that of what they called . (or .) and which is usually translated into English as ‘verisimilitude’. This desire to avoid showing what was, or might be judged, improbable and to insist on probability can be seen to fit in with several aims—with the ‘moral purpose’ which many dramatists said they gave作者: 是貪求 時(shí)間: 2025-3-26 22:27 作者: 性冷淡 時(shí)間: 2025-3-27 04:01
https://doi.org/10.1007/978-3-662-37872-4 two steps in the production process: staging and publication. At each of these points the playwright can, if he so desires, make his influence felt, by instructing the actors on how their parts should be played and by revising his text for publication in the light of criticism or his own second tho作者: Cerebrovascular 時(shí)間: 2025-3-27 06:06
https://doi.org/10.1007/978-3-662-37872-4n of an action (no drama can), but is, rather, a transposition of material, a re-arrangement—as Aristotle says, a heightening of certain traits as in a painting, a playing down of others. In short, an idealisation, an improvement on what nature offers. And this enhancement of the subject-matter is r作者: Camouflage 時(shí)間: 2025-3-27 09:52 作者: Complement 時(shí)間: 2025-3-27 16:34
https://doi.org/10.1007/978-1-349-04518-1antiquity; Europe; French; history; history of literature; literature; theatre; theatre history; tragedy作者: 邪惡的你 時(shí)間: 2025-3-27 18:03 作者: 時(shí)代錯(cuò)誤 時(shí)間: 2025-3-27 22:15
Introduction,epth and breadth than ever before and have opened up whole new areas for discussion. Even the most traditionally-minded reader of . or . can no longer ignore the importance of sound—for example, the presence of noise of one kind or another and characters’ awareness of it (or its absence, silence)—no作者: linear 時(shí)間: 2025-3-28 02:34 作者: 褻瀆 時(shí)間: 2025-3-28 10:01
Form,ions regarding the outward shape of the play and the restricted time and place, although others would argue differently. Jacques Scherer, for instance, in his influential book . (1950), maintains that the creation of characters comes first in a playwright’s list of priorities, and he studies that an作者: Gratulate 時(shí)間: 2025-3-28 11:07 作者: receptors 時(shí)間: 2025-3-28 17:44
,überlegungen vor der Anaesthesie,epth and breadth than ever before and have opened up whole new areas for discussion. Even the most traditionally-minded reader of . or . can no longer ignore the importance of sound—for example, the presence of noise of one kind or another and characters’ awareness of it (or its absence, silence)—no作者: 礦石 時(shí)間: 2025-3-28 20:30 作者: Lamina 時(shí)間: 2025-3-28 23:32 作者: 悶熱 時(shí)間: 2025-3-29 06:08 作者: induct 時(shí)間: 2025-3-29 07:56 作者: Corral 時(shí)間: 2025-3-29 13:53 作者: bacteria 時(shí)間: 2025-3-29 15:47 作者: Jargon 時(shí)間: 2025-3-29 20:21
Publication,ntry dwellers, this is a drop in the ocean. But for a city of half a million inhabitants it is no mean feat and probably differs little from the proportion of Parisians who actually see the opening run of an important new play staged today. Then as now, theatre attendance was a minority interest.作者: muscle-fibers 時(shí)間: 2025-3-29 23:55
Characters, as we have seen, writers of French classical tragedy followed their predecessors in choosing as protagonists the kings, queens, emperors and other persons in authority who had been deemed suitable from Aeschylus onwards.作者: intangibility 時(shí)間: 2025-3-30 07:44
https://doi.org/10.1007/978-3-642-91442-3y seventeenth-century playwrights conceived of their task and which continues to puzzle English-speaking readers of French classical tragedy to this day. If for no other reason, it is worth devoting a few pages to the unities of time, place and action.
