Subject
Drama -- History and criticism Books
Best books
August Wilhelm von Schlegel
Lectures on Dramatic Art and Literature
"Lectures on Dramatic Art and Literature" by August Wilhelm von Schlegel is a scholarly work that compiles a series of lectures on the nature of dramatic poetry and its historical evolution, likely written in the early 19th century. This critical text offers insights into the distinctions between ancient and modern dramatic forms, examining various dramatic traditions from Greeks to Romantic poets, while engaging deeply with the principles of criticism, aesthetics, and the artistic spirit inherent in the theatre. The opening of the book introduces the author’s thoughts on the value of literature and reflects on the transformative power of reading. Schlegel posits that literature allows individuals to connect with the most profound thoughts and insights of humanity across time and geography. He outlines his intention to explore the essence of dramatic art, including discussions of tragedy and comedy, and the contrasts between classical and romantic literature. The early passages hint at the structural complexity of the lectures to follow, setting the stage for an analytical journey through the various genres and styles of drama, as well as their cultural significance.
Brander Matthews
Playwrights on playmaking : $b and other studies of the stage
"Playwrights on Playmaking: and Other Studies of the Stage" by Brander Matthews is a collection of essays examining the principles and techniques of drama, written in the early 20th century. The work reflects Matthews' rich experiences from decades of playgoing and his scholarly insights into the craft of playwriting and theatrical productions. The book discusses the relationship between the playwright, audience, and actors, providing readers with an understanding of how various elements influence the creation and reception of dramatic works. At the start of this collection, Matthews introduces his thesis, laying out several theories regarding the nature of drama as an art form. He emphasizes that while the fundamental laws of drama remain unchanged throughout time, their application can differ greatly depending on cultural context and audience expectations. He critiques both the creative and critical roles of playwrights, arguing that the act of playwriting must engage directly with the audience's tastes and sensibilities, a principle observable in the works of historical figures such as Shakespeare and Molière. Matthews aims to enlighten readers on the critical thinking behind playwriting, emphasizing the importance of understanding the audience's role in the theater.
Brander Matthews
A Book About the Theater
"A Book About the Theater" by Brander Matthews is a collection of essays written in the early 20th century. The work examines various aspects of theatrical arts and offers insights on the intricacies of the theater, from dramatic structure to performance techniques. Matthews, a professor of dramatic literature, brings both academic rigor and personal experience to his analysis, addressing topics that range from spectacle in theater to the nature of audience engagement. At the start of the book, Matthews sets the stage for his exploration by reflecting on the show business, tying it to historical figures like Disraeli and discussing their more theatrical approaches to politics. He emphasizes the integral relationship between drama and spectacle, asserting that all forms of entertainment, including theater, are ultimately about amusement. Through anecdotes and examples from various forms of theatrical expression, he begins to establish his thesis that understanding the art of the stage requires not only an appreciation of dramatic literature but also an awareness of its performance context and the evolving dynamics of audience engagement.
George Jean Nathan
The Critic and the Drama
"The Critic and the Drama" by George Jean Nathan is a critical examination of the arts of drama and criticism that was written in the early 20th century. This work delves deeply into the nature of both criticism and drama, emphasizing the artistic relationship between the two. Nathan tackles the complexities and nuances of how art is created and received, positioning drama as a vital and evolving form that reflects society's collective consciousness. The opening of the book presents Nathan's thoughts on the nature of criticism as an art form in its own right. He asserts that criticism is not merely about judgment but also about illuminating the deeper meanings and struggles inherent in artistic expression. Nathan employs rich and metaphorical language to describe art as a partnership between the artist and the critic, each contributing to a greater understanding of beauty and emotional truth. He argues that while art may be a deliberate exaggeration of reality, criticism is essential for making sense of that artistry, ultimately serving as an important mediator between the two.
Zoltán Ambrus
Színházi esték
"Színházi esték" by Zoltán Ambrus is a collection of theater criticism published in 1914. This 400-page volume gathers the Hungarian writer's reviews of world drama premieres in Hungary, written over approximately twenty years starting in 1882. The collection spans works from Sophocles' "Oedipus Rex" to early 1910s productions, focusing exclusively on foreign playwrights. Ambrus applies rigorous standards to classics and contemporary pieces alike, wielding irony as his sharpest weapon while seeking truth in characterization and dialogue, unafraid to challenge popular opinion or deflate false reputations.
Arthur Bingham Walkley
Pastiche and prejudice
"Pastiche and Prejudice" by Arthur Bingham Walkley is a collection of essays and critiques written during the early 20th century. The work explores various literary forms, especially focusing on the concept of pastiche as a creative expression, and its relationship with original works, touching on themes of imitation and artistic authenticity. Walkley reflects on renowned authors like Jane Austen and Marcel Proust, offering insights into their styles and the challenges of emulating them without falling into parody. The opening of this work delves into the nuances of pastiche and its rarities, setting the stage for a thoughtful discussion on the intersection of originality and imitation in literature. Walkley illustrates his arguments with examples, such as theatrical rehearsals that blur the lines between original and imitated performances. He also contrasts different authors' styles, showcasing how the passage of time affects literary expression and leading to misconceptions about past and present forms. This introduction establishes a contemplative tone and invites readers to consider their own perceptions of literary pastiche.
Ramón Pérez de Ayala
Las máscaras, vol. 2/2
"Las máscaras, vol. 2/2" by Ramón Pérez de Ayala is a philosophical essay and literary critique written in the early 20th century. The text examines the complexities of human nature and societal roles through a cultural lens, particularly reflecting on the life and works of Oscar Wilde. The exploration dives deep into the themes of contradiction, vanity, and the nature of art, likely presenting a nuanced view of the personalities involved, especially Wilde. The opening of this work introduces a detailed analysis of the concept of the "spoiled baby," a metaphor for individuals who have been overly pampered and have consequently developed a sense of superiority and entitlement. Pérez de Ayala articulates the psychological implications of this condition, likening it to Wilde himself, who, despite his genius, fell into contradictions and excesses. The text reflects on Wilde’s experiences, particularly his downfall, presenting his artistic endeavors in the context of societal views of morality and the complicated dynamics of personal identity and creative expression. This initial portion sets the stage for a broader discussion on the interplay between art, life, and moral implications within society.
Ramón Pérez de Ayala
Las máscaras, vol. 1/2
"Las máscaras, vol. 1/2" by Ramón Pérez de Ayala is a literary work that appears to consist of critical essays on theatrical art, written in the early 20th century. The volume includes various essays reflecting on the Spanish theater, its evolution, and a commentary on its authors, suggesting that it addresses the changing landscape of dramatic literature during that period. The author engages with notable figures in Spanish theater, such as Benito Pérez Galdós and Jacinto Benavente, through critical analysis, aiming to both justify and enrich discussions surrounding theater and its significance. The opening of "Las máscaras" serves as a preamble where Pérez de Ayala introduces his compendium of essays. He acknowledges the eclectic nature of the writings, which were published at different times and under varied circumstances, yet insists on a coherent thematic unity concerning the evolution of theatrical criticism. The author critiques the perception of drama and its critics, suggesting that many fail to grasp the intricacies of Galdós's and Benavente's works. He raises essential questions about the nature of theater as an art form in transition, the role of critics, and the societal context in which these dramas emerge. This sets the stage for a more detailed examination and analysis of specific theatrical pieces that follow in the volume.
Richard Burton
How to See a Play
"How to See a Play" by Richard Burton is a guidebook on theatrical appreciation written in the early 20th century. The author aims to educate theater-goers on the significance and art of plays, helping them make informed decisions about which productions to attend and enhancing their overall experience. Throughout the book, he emphasizes the importance of a discerning audience in fostering better theater. The opening of the book introduces its primary objective, which is to equip audience members with the knowledge they need to appreciate theater as an art form. Burton discusses the theatrical experience as a unique form of storytelling that relies on dialogue, action, and visual elements. He highlights the role of the audience in demanding high-quality plays and stresses the need for viewers to engage actively with what they are watching, ensuring that they understand the artistic value of performances. By understanding the fundamentals of drama and the collaborative efforts between playwrights and actors, the spectator can gain a deeper appreciation of the theater.
Gustaf Edvard Ingelius
Om medeltidens skådespel och deras fortgång till sednare tider, med särskildt fästadt afseende vid Finlands äldste dramatiske författare Jakob Pehrsson Chronander
"Om medeltidens skådespel" by Gustaf Edvard Ingelius is an academic thesis written in the mid-19th century. This detailed work explores the evolution of medieval drama with a particular focus on its origins and development, linking it to earlier theatrical traditions and the influence of religious practices. Ingelius specifically examines the role of Christianity in shaping drama during the medieval period, providing insights into how ancient theatrical elements were transformed and integrated into new artistic practices. The opening of this scholarly work introduces the historical context in which medieval drama emerged, emphasizing the interplay between pagan traditions and early Christian culture. It outlines how, despite the decline of ancient theatrical forms during the rise of Christianity, elements of drama persisted and evolved through religious ceremonies and rituals. Ingelius suggests that the mimicry that characterized early drama was rooted in a deep-seated human instinct and was influenced by religious observances. He discusses genre transitions, the significance of early performances in churches, and the transition of theatrical practices from religious contexts to public entertainment, laying a strong foundation for understanding the historical continuum in dramatic arts that would lead to the emergence of more formalized medieval theater.
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