American Playwright..., 第 2 巻1913 |
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action actor amateur AMERICAN PLAYWRIGHT Analysis of Play art of playwriting Arthur Schnitzler artistic audience Belasco Broadway Cause and Effect CHAPTER character Charles Frohman collaboration Comedy in three Construction and Dramatic course Criterion Theatre Cyril Maude dialogue discussion drama Dramatic Principle dramatist emotions Episode everything fact father four acts genius girl give idea Jobyna Howland Joseph Medill Patterson labor Laurette Taylor lover Lyceum Theatre magazine marriage marry material matter means Melnotte mind mother Music nature never November opera Peggy Wood Percy Helton PHILOSOPHY OF DRAMATIC Play Construction PLAYWRIGHT playwriting Plot possible Produced proper Proposition purpose reason Sardou scenario scene scenery Sequence stage manager story student success technique Theatre thing three acts tion true truth Unity W. W. Jacob wife WILLIAM THOMPSON PRICE woman words writing a play written York City young
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232 ページ - I'll tell you what, Jack — I mean, you dog — if you don't, by Abs. What, sir, promise to link myself to some mass of ugliness! to Sir Anth. Zounds! sirrah! the lady shall be as ugly as I choose: she shall have a hump on each shoulder ; she shall be as crooked as the crescent; her one eye shall roll like the bull's in Cox's Museum; she shall have a skin like a mummy, and the beard of a Jew — she shall be all this, sirrah! — yet I will make you ogle her all day, and sit up all night to write...
232 ページ - ... yet take care — the patience of a saint may be overcome at last! but mark ! I give you six hours and a half to consider of this : if you then agree, without any condition, to do everything on earth that I choose, why — confound you < I may in time forgive you — If not — zounds...
232 ページ - If not, zounds! don't enter the same hemisphere with me! don't dare to breathe the same air, or use the same light with me; but get an atmosphere and a sun of your own!
160 ページ - To know every detail, to gain an insight into every secret, to learn every method, to secure every kind of skill, are the prime necessities of success in any art, craft, or trade. No time is too long, no study too hard, no discipline too severe for the attainment of complete familiarity with one's work and complete ease and skill in the doing of it.
155 ページ - RICHELIEU. Fie! Kings are never tiresome save to their ministers. What courtly gallants charm ladies most? — De Sourdiac, Longueville, or the favorite Baradas? JULIE. A smileless man — fear and shun him.
196 ページ - Hold you — or see your nieces bleed ! [The two NIECES draw their two daggers to strike WHISKERANDOS : the two UNCLES at the instant, with their two swords drawn, catch their two NIECES' arms, and turn the points of their swords to WHISKEHANDOS, who immediately draws two daggers, and holds them to the two NIECES
257 ページ - The Old Spelling Shakespeare Being the Works of Shakespeare in the Spelling of the best Quarto and Folio Texts. Edited by FJ FURNIVALL and WG BOSWELL-STONE. 8vo (8£x 6J). Parchment, 5s. net each. Cloth, 2s. 6d. net each. 17 volumes now ready.
249 ページ - O ! mickle is the powerful grace that lies In herbs, plants, stones, and their true qualities : For nought so vile that on the earth doth live But to the earth some special good doth give...
155 ページ - RICHELIEU. Hate Mauprat? JULIE. Not Mauprat. No, not Adrien, father. RICHELIEU. Adrien ! Familiar ! Go, child ; no, not that way ; wait In the tapestry chamber ; I will join you ; go. JULIE.
126 ページ - All of these little pieces are admirable in technique: they are soundly constructed and written in natural and lucid dialogue. . . . He has sounded to the depths the souls of those eccentric and extraordinary women whom he has chosen to depict.