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 71
... plot . Hence , in the 1880s and 1890s , James embraced a dramatic model that was far less suited to staging character than it was to providing a plot with a touching resolution . Readers familiar with James's writing will recognise in ...
... plot . Hence , in the 1880s and 1890s , James embraced a dramatic model that was far less suited to staging character than it was to providing a plot with a touching resolution . Readers familiar with James's writing will recognise in ...
Página 85
... plot - oriented , cause - and - effect well - made play . The lack of a stable raisonneur to mediate Daisy's effect for the audience adds to the confusion , while rapid entrances and exits and an altered plot do little for extended ...
... plot - oriented , cause - and - effect well - made play . The lack of a stable raisonneur to mediate Daisy's effect for the audience adds to the confusion , while rapid entrances and exits and an altered plot do little for extended ...
Página 93
... plot against the hero and that plotting see - saws through the play until Newman recognises the submissive nature of his love for Claire in the scène à faire . With the scène à faire complete and the secret disposed of ( and , in this ...
... plot against the hero and that plotting see - saws through the play until Newman recognises the submissive nature of his love for Claire in the scène à faire . With the scène à faire complete and the secret disposed of ( and , in this ...
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 American appeared artist attempt attention audience Awkward Age become characters comes communication condition connection contemporary criticism Daisy Miller demonstrates describes developed dimension direct drama effect elements English face fiction figure Fleda French Gereth gesture give hand Henry James High imagination indicates interest involved James's kind letter light limits living London look manner material means metaphor moment moral motivation movement narrator nature Newman novel objects observation Owen painting particularly past performance person physical plot position possible Poynton Preface present produced psychological reading reference relations relationship remarks represent Rose scene secret sense separated situation social soliloquy space spectator speech stage story success suggest takes theatre theatrical things thinking tradition turn understanding visual well-made play whole Winterbourne witness writing York