Godina izdanja: Ostalo
ISBN: Ostalo
Autor: Domaći
Jezik: Engleski
Oblast: Pozorište

U dobrom stanju

Publisher ‏ : ‎ Palgrave Macmillan; 1st ed. (J1982)
Language ‏ : ‎ English
Paperback ‏ : ‎ 232 pages
ISBN-10 ‏ : ‎ 1349051829
ISBN-13 ‏ : ‎ 978-1349051823
Item weight ‏ : ‎ 306 g
Dimensions ‏ : ‎ 14 x 1.37 x 21.59 cm

This book discusses the importance of music-hall to the development of English drama, and many music-hall acts are analysed, a number with reference to the responses of the audience before whom they were recorded. The different but related dramatic techniques of epic drama and the music-hall tradition are considered with reference to the work of T.S. Eliot, Thornton Wilder, Beckett, Osborne, Arden, Pinter, Albee, Griffiths and Nichols. Finally, the phenomenon of abusing the audience is discussed, particular reference being made to Handke`s `Offending the Audience` and the Royal Shakespeare Company`s


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Peter Hobley Davison OBE (10 September 1926 – 16 August 2022) was a British professor of English and an authority on the life and works of George Orwell.

Born in Newcastle upon Tyne on 10 September 1926, he worked in the Crown Film Unit and served in the Navy during the Second World War. He gained his bachelor`s degree through correspondence and also had a master`s degree in bibliography and palaeography.

After time as a Fellow at the Shakespeare Institute, a lecturer at the University of Sydney, and as lecturer and senior lecturer at Birmingham University, he was appointed Professor of English at Saint David`s University College (later University of Wales Trinity Saint David) and then at the University of Kent, De Montfort University, Leicester. He was later an emeritus professor of English at Glyndŵr University.
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`There is no wholly acceptable term to describe the two kinds of theatrical experience with which I am concerned. Between the Licensing Act of 1737 and the Theatre Regulation Act of 1843, which ended the monopoly of the Patent Theatres (Drury Lane, Covent Garden and, to a limited extent, the Haymarket, in London), it was technically correct to speak of the Legitimate and Illegitimate Stage- as Planche characterises them in The Drama`s Levee (1838). The terms would have been understood long after that date and, in the theatre, the expression `to go legit.`, as Marie Lloyd did for a very brief period, is still to be heard. What is more, it would still be understood today in American theatre. Apart from the inaccuracy of using these terms before 1737, it was often very difficult in practice to distinguish the kinds of drama so categorised between 1737 and 1843, except at their extremes. Much that was put on at the Surrey would have been at home at Drury Lane, just as, two centuries earlier, The Winter`s Tale (1610) could be performed at the Globe and the Blackfriars- public (i.e. open-to-the-skies) and private (i.e. enclosed) theatres, respectively. However, that the different traditions were clearly understood as such is plain from Planche`s extravaganzas (see pp. 158-64). Despite the uncertainty of scholars, there seems no doubt that the distinction was also understood by Shakespeare, though his terminology is different. When Polonius describes to Hamlet the players who are visiting Elsinore he says, `Seneca cannot be too heavy, nor Plautus too light. For the law of writ and the liberty, these are the only men` (n.ii.376-8) `