| TÃtulo : |
Dramatic soundings : Evaluations and Retractions culled from 30 years of dramatic citicism |
| Tipo de documento: |
texto impreso |
| Autores: |
John Waldhorn Gassner (1903 - 1967), Autor |
| Editorial: |
Nueva York : Crown |
| Fecha de publicación: |
1968 |
| Número de páginas: |
716 p |
| Idioma : |
Inglés (eng) |
| Clasificación: |
ARTES ESCÉNICAS - TEATRO
|
| Etiquetas: |
CRITICA/ ENSAYO |
| Clasificación: |
792.026.1 GASd |
| Nota de contenido: |
Part One. Soundings in Word Theatre. OrestÃada: Dramatic Form and Vision. Lope de Vega. The Modernity of Shakespeare's Theatre. The World of Molière. English Comedy in the Classic Age. Strindberg: Pearl and Oyster. The Modernism of Chekhov. Shaw on Shakespeare. Shaw on Isben and the Drama of Ideas. Part Two: Theory and Practice. The Dramatic Vision. A note on the Function of criticism. The Soucre, the Path Vision: A relativistic View Aristotelian Literary Criticism. William Archer. Playwrights an Playwriting. A Challenge to Writers. Literature and the Garden of Epicurus. Theory and Practice for the Playwright. The Ambiguity of Drama and Theatre. Part Three: PERSPECTIVES ON AMERICAN THEATRE. Theatre Arts in a Free Society. A Hundred Years of American Theatre. Eugene O'Neill. Imports and Influences from Abroad. I. The Influence of Strindberg in the United States. II. Early Giraudoux on the American Stage. III. An Isben Revival: Too Much Doll. IV.Anouilh's Valse Triste: A Minority Opinion Heroism and the American Theatre. Anchors Aweigh: Maxwell Anderson and tennessee Williams. The Two Worlds of Thornton Wilder. "There Is No American Drama" -A Premonition of Discontent (1952) Our Lost Playwrights. The Winter of Our Discontent. The Stage and the CityThe Stage and the City. An Appraisal of the Contemporary American Stage. Contentions I. Futile Editorial: A Theatre for the People. II. Crisis in Commercial Theatre. III. The Public Is to Blame. IV. Too Many Judges? V. One Cheer for the New York Stage. Part Four: THE THIRTIES: DEPRESSION AND REACTION. Playwrights of the Thirties. Ethan Frome and the Theatre of Fate. Paradise Lost and Theatre of Frustration. Paul Green: Playwright on Native Ground. Saroyan's The Time of Your Life. Drama Versus Melodrama: An Experience of the Thirties. Toward a One-Act Theatre. The One-Act Play in the Revolutionary Theatre. I introduction. II. The Worker and the Theatre. III. The New Theatre Movement. IV.The recession. V. Sociology and Playwriting.VI. The Plays. Politics and Theatre. Social Realism and Imaginative Theatre. The Group Theatre. Part Five: BROADWAY IN REVIEW: PRODUCTIONS OF THE SIXTIES. SECTION ONE. Lilian Hellman's Toys in the Attic (May, 1960)Fables on Broadway (May,1960) Imagination and Stylization in New York (October, 1960) Broadway Versus Off-Broadway Endeavors ( December, 1960) Avant-Garde Drama (May, 1961) Foray into the Absurd (December, 1961) Robert Bolt's A Man for All Seasons (March, 1962) Lumbering Americans (March, 1962) Trouble on Broadway (May, 1962) Other Broadways (October, 1962) The Victorian and Anti-Victorian Bernard Shaw (October, 1963) SCTION TWO. The Lincoln Center Repertory Company (May, 1964) I. But fon Whom CharlieII. Marco Millions. III. After the Fall. IV. Incident at Vichy (October, 1965) V. Danton's Death (March, 1966) VI. Th Country Wife (March, 1966) VII. The Condemned of Altona (May, 1966) VIII. Yerma ( March, 1967) The Actors Studio. I. Strage Interlude (May, 1962) II. Marathon 33 (March, 1964) III, The Three Sisters (October, 1964) IV. Blues for Mr. Charlie (October, 1964) The Association of Producing Artist. I.The lower Depths (October, 1964) II. Judith and Others (October, 1965) III. You Can't Take It With You (March, 1966) IV. Right You ARe (March, 1967) The Institute for Advanced Studies in Theatre Arts. Phèdre (October, 1966) A Musical Samñler. I. Hello, Dolly! (March, 1964) II. The King and I and Others (October, 1964) III. Fiddler on the Roof (December, 1964) IV. Cabaret (March, 1967) Promises: Fulfilled and Unfulfilled. I. Jack Gelber: The Apple and Square in the Eye (March, 1962), (October, 1965) II. Paddy Chayevsky: The Passion of Joseph D. (March, 1964) III. Frank D. Gilroy: The Subject Was Roses. (October, 1964) IV. Lorraine Hansberry: The Sign in Sidney Brustein's Window (December, 1964) V. William Hanley: Mrs. Dally (December, 1965) VI. Jean-Claude van Italie: America Hurrah (March, 1967) VI. Jean-Claude van Itallie: America Hurrah (March, 1967) Time and Tennessee Williams. I. Camino Ral (October, 1960) II. Period of Adjustment (March, 1961) III. The Night of the Iguana (March, 1962) IV. The Milk Train Doesn't Stop Here Anymore (May, 1962) V. The Milk Train Doesn't Stop Here Anymore (May, 1964) Edward Albee: An American Dream? I. The One act Plays (May, 1961) II. Who's Afraid of virginia Woolf? (March, 1963) III.Who's Afraid of virginia Woolf? LP. IV. The Ballad of the Sad Café (March, 1964) V. Tiny Alice (October, 1965) VI. A Delicate Balance (December, 1966) A Brace of English Imports (March, 1966) I. The Right Honourable Gentleman. II. The Royal Hunt of the Sun. III. Inadmissible Evidence. IV. Marat/Sade. V. The Devils. VI. Serjeant Musgrave's Dance (May, 1966) Part Six: THE MODERN VISION IN DRAMA. The Playwright and the Contemporary Word. Bernard Shaw and the Making of the Modern Mind. Poetry in the Theatre. Forms of Modern Drama. The Two Theatres: The Modern and the Modernist . The Modern, the Modernist, and the Absurdist. Avant-Garde: Real or Fancied?. Art and |
| Link: |
http://biblioteca.emad.edu.uy/pmb/opac_css/index.php?lvl=notice_display&id=845 |
Dramatic soundings : Evaluations and Retractions culled from 30 years of dramatic citicism [texto impreso] / John Waldhorn Gassner (1903 - 1967), Autor . - Nueva York : Crown, 1968 . - 716 p. Idioma : Inglés ( eng)
| Clasificación: |
ARTES ESCÉNICAS - TEATRO
|
| Etiquetas: |
CRITICA/ ENSAYO |
| Clasificación: |
792.026.1 GASd |
| Nota de contenido: |
Part One. Soundings in Word Theatre. OrestÃada: Dramatic Form and Vision. Lope de Vega. The Modernity of Shakespeare's Theatre. The World of Molière. English Comedy in the Classic Age. Strindberg: Pearl and Oyster. The Modernism of Chekhov. Shaw on Shakespeare. Shaw on Isben and the Drama of Ideas. Part Two: Theory and Practice. The Dramatic Vision. A note on the Function of criticism. The Soucre, the Path Vision: A relativistic View Aristotelian Literary Criticism. William Archer. Playwrights an Playwriting. A Challenge to Writers. Literature and the Garden of Epicurus. Theory and Practice for the Playwright. The Ambiguity of Drama and Theatre. Part Three: PERSPECTIVES ON AMERICAN THEATRE. Theatre Arts in a Free Society. A Hundred Years of American Theatre. Eugene O'Neill. Imports and Influences from Abroad. I. The Influence of Strindberg in the United States. II. Early Giraudoux on the American Stage. III. An Isben Revival: Too Much Doll. IV.Anouilh's Valse Triste: A Minority Opinion Heroism and the American Theatre. Anchors Aweigh: Maxwell Anderson and tennessee Williams. The Two Worlds of Thornton Wilder. "There Is No American Drama" -A Premonition of Discontent (1952) Our Lost Playwrights. The Winter of Our Discontent. The Stage and the CityThe Stage and the City. An Appraisal of the Contemporary American Stage. Contentions I. Futile Editorial: A Theatre for the People. II. Crisis in Commercial Theatre. III. The Public Is to Blame. IV. Too Many Judges? V. One Cheer for the New York Stage. Part Four: THE THIRTIES: DEPRESSION AND REACTION. Playwrights of the Thirties. Ethan Frome and the Theatre of Fate. Paradise Lost and Theatre of Frustration. Paul Green: Playwright on Native Ground. Saroyan's The Time of Your Life. Drama Versus Melodrama: An Experience of the Thirties. Toward a One-Act Theatre. The One-Act Play in the Revolutionary Theatre. I introduction. II. The Worker and the Theatre. III. The New Theatre Movement. IV.The recession. V. Sociology and Playwriting.VI. The Plays. Politics and Theatre. Social Realism and Imaginative Theatre. The Group Theatre. Part Five: BROADWAY IN REVIEW: PRODUCTIONS OF THE SIXTIES. SECTION ONE. Lilian Hellman's Toys in the Attic (May, 1960)Fables on Broadway (May,1960) Imagination and Stylization in New York (October, 1960) Broadway Versus Off-Broadway Endeavors ( December, 1960) Avant-Garde Drama (May, 1961) Foray into the Absurd (December, 1961) Robert Bolt's A Man for All Seasons (March, 1962) Lumbering Americans (March, 1962) Trouble on Broadway (May, 1962) Other Broadways (October, 1962) The Victorian and Anti-Victorian Bernard Shaw (October, 1963) SCTION TWO. The Lincoln Center Repertory Company (May, 1964) I. But fon Whom CharlieII. Marco Millions. III. After the Fall. IV. Incident at Vichy (October, 1965) V. Danton's Death (March, 1966) VI. Th Country Wife (March, 1966) VII. The Condemned of Altona (May, 1966) VIII. Yerma ( March, 1967) The Actors Studio. I. Strage Interlude (May, 1962) II. Marathon 33 (March, 1964) III, The Three Sisters (October, 1964) IV. Blues for Mr. Charlie (October, 1964) The Association of Producing Artist. I.The lower Depths (October, 1964) II. Judith and Others (October, 1965) III. You Can't Take It With You (March, 1966) IV. Right You ARe (March, 1967) The Institute for Advanced Studies in Theatre Arts. Phèdre (October, 1966) A Musical Samñler. I. Hello, Dolly! (March, 1964) II. The King and I and Others (October, 1964) III. Fiddler on the Roof (December, 1964) IV. Cabaret (March, 1967) Promises: Fulfilled and Unfulfilled. I. Jack Gelber: The Apple and Square in the Eye (March, 1962), (October, 1965) II. Paddy Chayevsky: The Passion of Joseph D. (March, 1964) III. Frank D. Gilroy: The Subject Was Roses. (October, 1964) IV. Lorraine Hansberry: The Sign in Sidney Brustein's Window (December, 1964) V. William Hanley: Mrs. Dally (December, 1965) VI. Jean-Claude van Italie: America Hurrah (March, 1967) VI. Jean-Claude van Itallie: America Hurrah (March, 1967) Time and Tennessee Williams. I. Camino Ral (October, 1960) II. Period of Adjustment (March, 1961) III. The Night of the Iguana (March, 1962) IV. The Milk Train Doesn't Stop Here Anymore (May, 1962) V. The Milk Train Doesn't Stop Here Anymore (May, 1964) Edward Albee: An American Dream? I. The One act Plays (May, 1961) II. Who's Afraid of virginia Woolf? (March, 1963) III.Who's Afraid of virginia Woolf? LP. IV. The Ballad of the Sad Café (March, 1964) V. Tiny Alice (October, 1965) VI. A Delicate Balance (December, 1966) A Brace of English Imports (March, 1966) I. The Right Honourable Gentleman. II. The Royal Hunt of the Sun. III. Inadmissible Evidence. IV. Marat/Sade. V. The Devils. VI. Serjeant Musgrave's Dance (May, 1966) Part Six: THE MODERN VISION IN DRAMA. The Playwright and the Contemporary Word. Bernard Shaw and the Making of the Modern Mind. Poetry in the Theatre. Forms of Modern Drama. The Two Theatres: The Modern and the Modernist . The Modern, the Modernist, and the Absurdist. Avant-Garde: Real or Fancied?. Art and |
| Link: |
http://biblioteca.emad.edu.uy/pmb/opac_css/index.php?lvl=notice_display&id=845 |
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