Vietnam or Thailand ? Vote for the TOP Country of the Week !
Updated: May 14, 2025
Potter at this moment was not to the playwright's credit. However, he went only so far as to say: "I didn't like him much yesterday afternoon." "Oh, no, no!" she said quickly. "That was every bit my fault. I was frightened and it made me stupid. And he's just beautiful to me to-day! But I'd never mind anything from a man that works with you as he does. It's the most wonderful thing!
There are, as I have said, incalculable chances to one that the playwright's version of a given event will not coincide with that of the Recording Angel: but it may be true and convincing in relation to human nature in general, in which case it will belong to the sphere of great art; or, on a lower level, it may be agreeable and entertaining without being conspicuously false to human nature, in which case it will do no harm, since it makes no pretence to historic truth.
That actor's personality is a part of the playwright's material. Playwriting, it has been well said, is an art of preparing. The principal actor is one of the things for which we must be artfully prepared. The audience must first be wrought on, wrought up. Had Shakespeare been also Burbage, it is possible that he would have been even more painstaking than he was in leading up to the leading man.
Aeschylus' skill in this branch of his art is really extraordinary; the Chorus does take a part, and a vital part too, in the play. Again, the number of Greek actors was limited, whereas in a modern play their number is just as great as suits playwright's convenience or his capacity.
And his is not the playwright's page; His table does not ape the stage; What matter if the figures seen Are only shadows on a screen, He finds in them his lurking thought, And on their lips the words he sought, Like one who sits before the keys And plays a tune himself to please. And was he noted in his day? Read, flattered, honored? Who shall say?
There is nothing amateurish in the workmanship; the reader is not doomed to soar into extravagances at one moment, and sink into flatnesses at another. Ample opportunities were offered for displays of boisterous riot, but the playwright's even-balanced mind was not to be disturbed.
The dramatist is very ill-advised who sets forth with pomp and circumstance to perform some intellectual or technical feat, and then merely skirts round it or runs away from it. A fair proportion should always be observed between effort and effect, between promise and performance. "But if the audience happens to misread the playwright's design, and form exaggerated and irrational expectations?"
The playwright's scheme should not, then, until the latest possible moment, become so hard and fast as to allow his characters no elbow room for such manifestations of spontaneity. And this is only one of several forms of afterthought which may arise as the play develops.
Our playwright's suspicion that such supervision, if managed by a politically appointed censor, would work foolishly, are justified by all he has heard of such functionaries as they have worked in other fields and in other lands. This was true of the gag which the doughty Brieux finally pried off the mouth of the French playwright.
The year that has just commenced must resolve the character of many of those vague tendencies to change, to war, and confusion, which alarmed some and inspired hope into others at the close of 1830." Mr Frederick Reynolds, the veteran dramatist, has, by the aid of Mr. W.H. Brooke, produced an amusing and elegant volume of a Playwright's Adventures, under the above title, Mr.
Word Of The Day
Others Looking