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Maurice Maeterlinck and the making of modern theatre

著者: Patrick McGuinness
出版商: Oxford ; New York : Oxford University Press, 2000.
版本/格式:   图书 : 英语查看所有的版本和格式
数据库:WorldCat
提要:
"This is a study of one of theatre's quietest but most radical innovators. The playwright, poet, and essayist Maurice Maeterlinck (1862-1949) has been called the 'prodigal father' of the theatre of the Absurd. Admired by writers as diverse as Mallarme and Yeats, Artaud and Strindberg, Chekhov and Jarry, Maeterlinck was the most celebrated avant-garde playwright of his day. By 1900 he had given theatre a new set of  再读一些...
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类型/形式: Criticism, interpretation, etc
附加的形体格式: Online version:
McGuinness, Patrick.
Maurice Maeterlinck and the making of modern theatre.
Oxford ; New York : Oxford University Press, 2000
(OCoLC)606278194
提及的人: Maurice Maeterlinck; Maurice Maeterlinck; Maurice Maeterlinck; Maurice Maeterlinck
文件类型:
所有的著者/提供者: Patrick McGuinness
ISBN: 0198159773 9780198159773
OCLC号码: 42038871
描述: viii, 270 p. ; 23 cm.
内容: Symbolist beginnings --
La Princesse Maleine and Symbolist theatre --
Maeterlinck, Mallarmé, and Symbolist dramatic theory --
Theatre and the invisible principle: Pelléas et Mélisande --
Using the stage --
The fecund interval: 'Le tragique quotidien.'
责任: Patrick McGuinness.
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摘要:

A study of one of theatre's quietest but most radical innovators, the playwright, poet, and essayist Maurice Maeterlinck described as "the prodigal father of the Theatre of the Absurd". This work is  再读一些...

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McGuiness's book would be worth reading for the last two chapters alone, but the whole is a major contribution to understanding of Maeterlinck's drama both in itself and as mediation between 再读一些...

 
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schema:reviewBody""This is a study of one of theatre's quietest but most radical innovators. The playwright, poet, and essayist Maurice Maeterlinck (1862-1949) has been called the 'prodigal father' of the theatre of the Absurd. Admired by writers as diverse as Mallarme and Yeats, Artaud and Strindberg, Chekhov and Jarry, Maeterlinck was the most celebrated avant-garde playwright of his day. By 1900 he had given theatre a new set of bearings: 'static theatre', the 'theatre of the unexpressed', and the 'tragic of the everyday'. He had, according to Rilke, relocated theatre's centre of gravity, replacing action with inaction, events with the eventless, and dialogue with a semantics of silence as expressive as any of Symbolism's most sophisticated poetic constructions."--BOOK JACKET."
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