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Home > Art, Film & Photography > General > Performing arts > Theatre studies > The Theory of the Theatre, and Other Principles of Dramatic Criticism
The Theory of the Theatre, and Other Principles of Dramatic Criticism

The Theory of the Theatre, and Other Principles of Dramatic Criticism


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About the Book

This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1910 edition. Excerpt: ...the other hand, Polonius, in the same play, seems to receive greater emphasis by proportion than he really deserves. The part is very fully written. Polonius is often on the stage, and talks incessantly whenever he is present; but, after all, he is a man of small importance and fulfils a minor purpose in the plot. He is, therefore, falsely emphasised. That is why the part of Polonius is what French actors call a faux bon role, --a part that seems better than it is. In certain special cases, it is advisable to emphasise a character by the ironical expedient of inverse proportion. Tartufe is so emphasised throughout the first two acts of the play that bears his name. Although he is withheld from the stage until the second scene of the third act, so much is said about him that we are made to feel fully his sinister dominance over the household of Orgon; and at his first appearance, we already know him better than we know any of the other characters. In Victor Hugo's Marion Delorrne, the indomitable will of Cardinal Richelieu is the mainspring of the entire action, and the audience is led to feel that he may at any moment enter upon the stage. But he is withheld until the very final moment of the drama, and even then is merely carried mute across the scene in a sedan-chair. Similarly, in Paul Heyse's Mary of Magdala, the supreme person who guides and controls the souls of all the struggling characters is never introduced upon the scene, but is suggested merely through his effect on Mary, Judas, and the other visible figures in the action. One of the easiest means of emphasis is the use of repetition; and this is a favorite device with V Henrik Ibsen. Certain catch-words, which incorporate a recurrent mood of character or situation, are repeated over..


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Product Details
  • ISBN-13: 9780217300162
  • Publisher: Rarebooksclub.com
  • Publisher Imprint: Rarebooksclub.com
  • Height: 246 mm
  • No of Pages: 50
  • Spine Width: 3 mm
  • Width: 189 mm
  • ISBN-10: 0217300162
  • Publisher Date: 10 Jul 2012
  • Binding: Paperback
  • Language: English
  • Returnable: N
  • Weight: 109 gr


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