The Function of Song in Contemporary British DramaUniversity of Delaware Press, 1990 - 363 Seiten This comprehensive study formulates an original theory that dramatic song must be perceived as a separate genre situated between poetry, music, and theater. It focuses on John Arden, Margaretta D'Arcy, Edward Bond, Peter Barnes, John Osborne, Peter Nichols, Harold Pinter, Tom Stoppard, Peter Shaffer, and John McGrath. |
Inhalt
XXIV | 236 |
XXV | 244 |
XXVI | 251 |
XXVII | 261 |
XXVIII | 269 |
XXIX | 271 |
XXX | 273 |
XXXI | 279 |
XIII | 131 |
XVI | 141 |
XVIII | 162 |
XIX | 170 |
XX | 198 |
XXI | 204 |
XXII | 208 |
XXIII | 228 |
XXXII | 287 |
XXXIII | 303 |
XXXIV | 308 |
XXXV | 310 |
XXXVI | 331 |
| 351 | |
| 360 | |
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Häufige Begriffe und Wortgruppen
A. L. Lloyd Arden and D'Arcy Armstrong Armstrong's Last Goodnight Arnold Wesker Auden audience ballad Bicât Bond's Brecht Carol character collaboration comedy comic commentary composed contemporary context contrast create critical culture D'Arcy's dramatic song dramatists edition Edward Bond effect elements emotional employed England English entertainment epic epic theater example Eyre Methuen Faber film function further quotations Hans Werner Henze hymn Ibid improvised interview Irish ironic irony John Arden John McGrath later London Margaretta D'Arcy melodies melodrama Modern Drama music and song music hall music-hall Non-Stop Connolly Show O'Casey opera original Orpheus Osborne performance Peter Barnes playwrights Poems poetic poetry political popular music popular song ritual satiric says scene Scottish semiotic Serjeant Musgrave's Dance sing singer social song lyrics stage stanza Stoppard structure style sung symbol technique theater Theatre Quarterly theatrical theme tion Tom Stoppard University Press verse W. H. Auden Werner Henze words Workhouse Donkey