BOOST
发表于 2025-3-25 06:37:06
https://doi.org/10.1007/978-3-7091-8029-7iorities was followed, quite unconsciously, in seventeenth-century France, since plays were not printed or sold until their first run in the theatre was at an end. Yet it is precisely the transfer from text to live stage which the academic study of drama in school or university finds most difficult
苦涩
发表于 2025-3-25 09:12:36
Die Praxis der Negativ-Entwicklungstechnik,th one principal theatre at the beginning and another towards the end of the century, and at no time more than two playing tragedy with any regularity. Since we know little about the repertory and acting conditions of itinerant companies working the provinces and even less about those who came to se
赞美者
发表于 2025-3-25 13:04:46
Ein homosexueller Barockmensch,Bourgogne. Even assuming a good series of twenty or so performances and reasonably full houses at the first two or three of these at least, the number of people who witnessed the play remains relatively small—a few thousand at most. In a total population of twenty million, three-quarters of them cou
变态
发表于 2025-3-25 19:00:17
Die Technik der Starrflügler-Drohnenconditions but also by happenings in the near or distant past, recorded in the history books. Yet it is difficult, indeed dangerous, for the modern reader to try to draw parallels between literature and what we at present know of contemporary events, between characters in fiction and named individua
烦忧
发表于 2025-3-25 21:15:19
Die Technik der Starrflügler-Drohnention of this matter into a form suitable for the stage. The present chapter and the next two deal with some of the problems a seventeenth-century French playwright had to face when carrying out this transformation. There is, of course, a fair amount of overlap between the items to be covered here, b
容易懂得
发表于 2025-3-26 03:24:29
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Affectation
发表于 2025-3-26 05:05:59
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Abrade
发表于 2025-3-26 08:51:24
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KEGEL
发表于 2025-3-26 16:38:21
https://doi.org/10.1007/978-3-662-36852-7while unavoidable restrictions (put to good use by the best dramatists) affected the amount of physical action depicted on stage and hence the contemporary audience’s understanding of the terms plot and action. Now in the . Aristotle is careful to suggest that language is secondary to plot and hence
仔细阅读
发表于 2025-3-26 17:49:54
https://doi.org/10.1007/978-3-662-36849-7that of what they called . (or .) and which is usually translated into English as ‘verisimilitude’. This desire to avoid showing what was, or might be judged, improbable and to insist on probability can be seen to fit in with several aims—with the ‘moral purpose’ which many dramatists said they gave