Adapting to the Stage: Theatre and the Work of Henry JamesRoutledge, 01/11/2017 - 206 páginas This title was first published in 2000: 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. In the introduction to the first part of the book, Greenwood examines James's career within the context of contemporary European and North American theatre, providing an appraisal of what James gained from contemporary theatre, his position in that milieu, and what he brought to it. Part 2 of the book focuses on two novels: "The Other House" and "The Spoils of Poynton", both of which illustrate the ways in which James used the mechanism of contemporary theatre to communicate a character's personality. Discussion of these two works is used to throw light on similar concerns that develop in James's later writing. |
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... well - made play , James was attempting to achieve a deeper understanding of drama than he had yet managed in the novel . He sought a way of describing the excitement of living in an ideal world , of showing how such a world involved ...
... theatre was the proving ground of his later novels. The active nature of his witness to the French theatrical model so beloved of Sydney Grundy, the well-made play, and his subsequent involvement with avant-garde theatre developments ...
... well-made play's on-stage commentator figure, the raisonneur, so as to 'live and breathe and rub shoulders' with the characters who shared the stage with him. What Nussbaum describes, beyond the fact of James's exemplary love of his ...
... made a good play . This thinking also contributed to his definition of what an artist did . He subscribed to the ... well - made play . In James's mind the well - made play was the only viable choice for a writer determined to achieve ...
... well - made play represented to him a form from within which he could develop his own situations . The ' formlessness ' of Strindberg's The Father ( as it is described by Raymond Williams ) , the formlessness that William Archer called ...
Índice
8 | |
Psychological Space in The Summersoft Group and the Late Plays | |
Ellipsis and the Fourth Wall | |
Abandoning the Soliloquy | |
Psychology Embodied | |
The Poetry of Something Sensibly Gone | |
The Material Self | |
Index | |
Outras edições - Ver tudo
Adapting to the Stage: Theatre and the Work of Henry James Christopher Greenwood Visualização de excertos - 2000 |
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 |