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. |
No interior do livro
Resultados 1-3 de 51
Página 112
... things , he is ' stirred . . . to the depths ' , an artist , to him , ' is suggestive ' , ' powerfully ' capable of exciting so that an ' impression ' never leaves the audience . Unsurprisingly , James sought to compel an audience in ...
... things , he is ' stirred . . . to the depths ' , an artist , to him , ' is suggestive ' , ' powerfully ' capable of exciting so that an ' impression ' never leaves the audience . Unsurprisingly , James sought to compel an audience in ...
Página 137
... things , things sensed , things located within a network wholly composed of sensible things . *** James persisted in writing his theatrically influenced form until 1901 both because it fascinated him and because it gave him the practice ...
... things , things sensed , things located within a network wholly composed of sensible things . *** James persisted in writing his theatrically influenced form until 1901 both because it fascinated him and because it gave him the practice ...
Página 163
... things ' at Poynton was initially to make them the central object of study , in the end it became a way to characterise Fleda . While the objects were to be brought into being as the house Covering End is in The High Bid , testified ...
... things ' at Poynton was initially to make them the central object of study , in the end it became a way to characterise Fleda . While the objects were to be brought into being as the house Covering End is in The High Bid , testified ...
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 | |
6 outras secções não apresentadas
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