Adapting to the Stage: Theatre and the Work of Henry JamesAshgate, 2000 - 195 páginas The American novelist and playwright, Henry James, was drawn to the theatre and the shifting conventions of drama throughout his writing career. This study demonstrates that from the 1890s onwards James concentrated on adapting his novels and stories to and from the stage, and increasingly employed metaphors that spoke of novel-writing in terms of playwriting. Christopher Greenwood argues that these metaphors helped James to conceive himself as an artist who composed characters dramatically and visually, and in doing so sets his novels significantly apart from those of his contemporaries. |
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Página 98
... drama . His experience of writing for the stage realised in him the ability to locate this drama physically , in the intimate space between people conversing . His repeated use of a painting metaphor and his sense of himself as a ...
... drama . His experience of writing for the stage realised in him the ability to locate this drama physically , in the intimate space between people conversing . His repeated use of a painting metaphor and his sense of himself as a ...
Página 116
... drama at all . We have our Elizabethan drama . We have a drama of the last century and of the latter part of the century preceding , a drama which may be called our drama of the town , when the town was an entity powerful enough ...
... drama at all . We have our Elizabethan drama . We have a drama of the last century and of the latter part of the century preceding , a drama which may be called our drama of the town , when the town was an entity powerful enough ...
Página 151
... drama of perceiving . He implicitly defines drama as the relationship of someone viewing something interestedly , the action of spectating . Hence he held that art could as successfully create drama as life because it could be observed ...
... drama of perceiving . He implicitly defines drama as the relationship of someone viewing something interestedly , the action of spectating . Hence he held that art could as successfully create drama as life because it could be observed ...
Índice
Psychological Space in The Summersoft Group and the Late Plays | 25 |
Ellipsis and the Fourth Wall | 96 |
Abandoning the Soliloquy | 116 |
Direitos de autor | |
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Outras edições - Ver tudo
Adapting to the Stage: Theatre and the Work of Henry James Chris Greenwood Pré-visualização limitada - 2017 |
Adapting to the Stage: Theatre and the Work of Henry James Chris Greenwood Pré-visualização indisponível - 2018 |
Adapting to the Stage: Theatre and the Work of Henry James Chris Greenwood Pré-visualização indisponível - 2017 |
Palavras e frases frequentes
achieve action actors adapted aesthetic American Arthur Wing Pinero artist audience audience's Awkward Age beautiful become behaviour Brigstock characterisation characters CHIVERS Cintré communication contemporary Covering End criticism Daisy Miller delimited Dennis Vidal describes developed dimension disconnected drama dramatise Dumas fils effect English Eugenio fiction figure Fleda fourth wall French Gereth gesture Gracedew Guy Domville Henry James High Bid Ibsen imagination James's plays James's writing late plays Leon Edel London Madame de Katkoff maiden-aunt manner material melodrama metaphor moral motivation movement narrative narrator naturalist Newman novel novelist observation Owen painting passion performance peripeteia physical Pinero plot Preface present protagonists psychological Raymond Williams recognise relations relationship represent Reverdy Rose Armiger scene Second Mrs Tanqueray secret sense silence social soliloquy space spectator speech Spoils of Poynton stage direction story Summersoft theatre theatrical things Tony Victorian visual well-made play Winterbourne witness wrote York Yule