The Dramatic Experience
Plays are, of course, meant to be seen, not read, but many people find it impossible to visit the theatre regularly and it is for them that Professor Styan intends this book, originally published in 1965, to promote better understanding of the dramatist's intentions and fuller enjoyment of the play. He defines what a play is and discusses such topics as the development of the theatre - its different stages, kinds of drama and types of character - the tone and tempo in which the play is written, the roles of actor and audience and the structure and interplay of plot and subplot. Charts of theatrical history, a glossary and reading lists, as well as drawings and diagrams by David Gentleman, provide further help for the reader.
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THE STAGE ALIVE
WORDS AND VOICES
HOW REAL IS A CHARACTER?
WHATS IN A PLOT?
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action actor Antony and Cleopatra audience Barbara behaviour burlesque camera century character cinema comedy comic Congreve contrast convention costume create dialogue downstage dramatic experience dramatist Eliot's Elizabethan theatre emotion English Everyman excitement Fainall Falstaff farce feeling film Galsworthy gesture Greek tragedy Hamlet hear hero human humour Ibsen imagination interest jack Jonson's Joxer Juliet Julius Caesar kind King Lear lady bracknell laughter Lear's living Macbeth meaning medieval Midsummer Night's Dream Milk Wood Millamant mind Mirabell modern mood morality movement naturalistic Othello pace pattern performance play play's playwright plot poetic drama poetry proscenium arch prose radio reader reading Restoration ridicule Romeo Rosalind satirical scene School for Scandal sense Shakespeare Shaw Shaw's Sheridan situation soliloquy speak spectator speech stage story structure Styan style subplot suggests T. S. Eliot television tempo theatrical theme tone tragic tragicomedy Twelfth Night unity upstage verse visual vocal voice well-made well-made play words