The Making of Theatre HistoryPAUL KURITZ, 1988 - 468 страница |
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... 2 THE CLASSICAL THEATRE 15 GREECE 15 Cultural Context Mathematics and the Arts 16 16 Politics and the Arts 16 Gender , Sexuality , and the Arts Dionysiac Festivals 18 17 44 3 THE CLASSICAL ASIAN THEATRE 64 103 4 THE iv.
... 2 THE CLASSICAL THEATRE 15 GREECE 15 Cultural Context Mathematics and the Arts 16 16 Politics and the Arts 16 Gender , Sexuality , and the Arts Dionysiac Festivals 18 17 44 3 THE CLASSICAL ASIAN THEATRE 64 103 4 THE iv.
Страница
... Political Patronage of the Drama 97 99 The Golden Age and a New Drama 99 Kabuki Audience 114 115 117 Kabuki Dramaturgy 116 Conclusion Notes 117 OVERVIEW 119 The Inquisition 130 The Holy Roman Empire 119 Creed as Scenario 119 An ...
... Political Patronage of the Drama 97 99 The Golden Age and a New Drama 99 Kabuki Audience 114 115 117 Kabuki Dramaturgy 116 Conclusion Notes 117 OVERVIEW 119 The Inquisition 130 The Holy Roman Empire 119 Creed as Scenario 119 An ...
Страница
... Political Stability 180 Neo - Classicism 159 Theatre Regulation 180 The Scientific Manipulation of Space 160 Economic Prosperity 181 Individuality 160 New Themes 160 The Arrival of Humanism Dramatic Texts 182 181 Mannerism and the ...
... Political Stability 180 Neo - Classicism 159 Theatre Regulation 180 The Scientific Manipulation of Space 160 Economic Prosperity 181 Individuality 160 New Themes 160 The Arrival of Humanism Dramatic Texts 182 181 Mannerism and the ...
Страница
... Political Disunity 244 From Neo - Classicism to Sturm und Drang 245 Opera 246 Native Arts 246 Second - Hand Dramas Goethe and Schiller 247 Bourgeois Drama Reforming Actors 249 250 246 Critics and the People 250 Notes 251 253 253 A New ...
... Political Disunity 244 From Neo - Classicism to Sturm und Drang 245 Opera 246 Native Arts 246 Second - Hand Dramas Goethe and Schiller 247 Bourgeois Drama Reforming Actors 249 250 246 Critics and the People 250 Notes 251 253 253 A New ...
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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 |
Чести термини и фразе
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