Play Making

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.

Author: William Archer

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ISBN: 1293944181

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Page: 440

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This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Play Making a Manual of Craftsmanship

Author: HardPress

Publisher: Hardpress Publishing

ISBN: 1313454435

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Page: 442

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Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Play Making

And, stranger still, how comes it that so many people are willing to sit at the feet of these instructors? It is not so with the novel.

Author: William Archer

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ISBN: 9798691403453

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Page: 532

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How comes it, then, that there is a constant demand for text-books of the art and craft of drama? How comes it that so many people--and I among the number--who could not write a play to save their lives, are eager to tell others how to do so? And, stranger still, how comes it that so many people are willing to sit at the feet of these instructors? It is not so with the novel. Popular as is that form of literature, guides to novel-writing, if they exist at all, are comparatively rare. Why are people possessed with the idea that the art of dramatic fiction differs from that of narrative fiction, in that it can and must be taught?

Play Making

Play-Making A Manual of Craftsmanship Drama Production Brand New Edition By William Archer With a New Introduction to the Dover Edition by John Gassner There are no rules for writing a play.

Author: William Archer

Publisher: CreateSpace

ISBN: 1494870509

Category: Performing Arts

Page: 260

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Play-Making A Manual of Craftsmanship Drama Production Brand New Edition By William Archer With a New Introduction to the Dover Edition by John Gassner There are no rules for writing a play. It is easy, indeed, to lay down negative recommendations--to instruct the beginner how not to do it. But most of these "don'ts" are rather obvious; and those which are not obvious are apt to be questionable. It is certain, for instance, that if you want your play to be acted, anywhere else than in China, you must not plan it in sixteen acts of an hour apiece; but where is the tyro who needs a text-book to tell him that? On the other hand, most theorists of to-day would make it an axiom that you must not let your characters narrate their circumstances, or expound their motives, in speeches addressed, either directly to the audience, or ostensibly to their solitary selves. But when we remember that, of all dramatic openings, there is none finer than that which shows Richard Plantagenet limping down the empty stage to say-- "Now is the winter of our discontent Made glorious summer by this sun of York; And all the clouds that lour'd upon our house In the deep bosom of the ocean buried"--

Play Making

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations.

Author: James Hunekar

Publisher: Pinnacle Press

ISBN: 1374894818

Category: Games & Activities

Page: 302

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This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Play Making

we feel that the axiom requires large qualifications.

Author: William Archer

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ISBN: 9798566744124

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Page: 630

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we feel that the axiom requires large qualifications. There are no absolute rules, in fact, except such as are dictated by the plainest common sense. Aristotle himself did not so much dogmatize as analyse, classify, and generalize from, the practices of the Attic dramatists. He said, "you had better" rather than "you must." It was Horace, in an age of deep dramatic decadence, who re-stated the pseudo-Aristotelian formulas of the Alexandrians as though they were unassailable dogmas of art.

Play Making

we feel that the axiom requires large qualifications.

Author: William Archer

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ISBN: 9798566744117

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Page: 630

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we feel that the axiom requires large qualifications. There are no absolute rules, in fact, except such as are dictated by the plainest common sense. Aristotle himself did not so much dogmatize as analyse, classify, and generalize from, the practices of the Attic dramatists. He said, "you had better" rather than "you must." It was Horace, in an age of deep dramatic decadence, who re-stated the pseudo-Aristotelian formulas of the Alexandrians as though they were unassailable dogmas of art.

Play Making

As a typical example of a dramatic way of handling an incident, so as to make a supreme effect of what might else have been an anti-climax, one may cite the death of Othello.

Author: William Archer

Publisher:

ISBN: 9798634463063

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Page: 202

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As a typical example of a dramatic way of handling an incident, so as to make a supreme effect of what might else have been an anti-climax, one may cite the death of Othello. Shakespeare was faced by no easy problem. Desdemona was dead, Emilia dead, Iago wounded and doomed to the torture; how was Othello to die without merely satiating the audience with a glut of blood? How was his death to be made, not a foregone conclusion, a mere conventional suicide, but the culminating moment of the tragedy?

Play Making a Manual of Craftsmanship Classic Reprint

About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work.

Author: William Archer

Publisher:

ISBN: 1330542916

Category: Language Arts & Disciplines

Page: 336

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Excerpt from Play-Making a Manual of Craftsmanship This book is, to all intents and purposes, entirely new. No considerable portion of it has already appeared, although here and there short passages and phrases from articles of bygone years are embedded - indistinguishably I hope - in the text. I have tried, wherever it was possible, to select my examples from published plays, which the student may read for himself, and so check my observations. One reason, among others, which led me to go to Shakespeare and Ibsen for so many of my illustrations, was that they are the most generally accessible of playwrights. If the reader should feel that I have been overlavish in the use of footnotes, I have two excuses to allege. The first is that more than half of the following chapters were written on shipboard, and in places where I had scarcely any books to refer to; so that a great deal had to be left to subsequent enquiry and revision. The second is that several of my friends, dramatists and others, have been kind enough to read my manuscript, and to suggest valuable afterthoughts. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Play Making

As a typical example of a dramatic way of handling an incident, so as to make a supreme effect of what might else have been an anti-climax, one may cite the death of Othello.

Author: William Archer

Publisher:

ISBN: 9798634463056

Category:

Page: 202

View: 214

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As a typical example of a dramatic way of handling an incident, so as to make a supreme effect of what might else have been an anti-climax, one may cite the death of Othello. Shakespeare was faced by no easy problem. Desdemona was dead, Emilia dead, Iago wounded and doomed to the torture; how was Othello to die without merely satiating the audience with a glut of blood? How was his death to be made, not a foregone conclusion, a mere conventional suicide, but the culminating moment of the tragedy?

Play Making

This is a reproduction of a book published before 1923.

Author: William Archer

Publisher: Nabu Press

ISBN: 1289630860

Category:

Page: 336

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This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

Play Making a Manual of Craftsmanship By William Archer To Brander Matthews

Originally housed in a four-room complex in Philosophy Hall, the collection was broken up and sold after his death.

Author: William Archer

Publisher: Createspace Independent Publishing Platform

ISBN: 1542438462

Category:

Page: 152

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James Brander Matthews (February 21, 1852 - March 31, 1929) was an American writer and educator. He was the first full-time professor of dramatic literature at an American university and played a significant role in establishing theater as a subject worthy of formal study in the academic world. His interests ranged from Shakespeare, Moliere, and Ibsen to French boulevard comedies, folk theater, and the new realism of his own day.Biography[edit] Matthews born to a wealthy family in New Orleans, grew up in New York City, and graduated from Columbia College in 1871, where he was a member of the Philolexian Society and the fraternity of Delta Psi, and from Columbia Law School in 1873. He had no real interest in the law, never needed to work for a living (given his family fortune), [1] and turned to a literary career, publishing in the 1880s and 1890s short stories, novels, plays, books about drama, biographies of actors, and three books of sketches of city life. One of these, Vignettes of Manhattan (1894), was dedicated to his friend Theodore Roosevelt. From 1892 to 1900, he was a professor of literature at Columbia and thereafter held the Chair of Dramatic Literature until his retirement in 1924. He was known as an engaging lecturer and a charismatic if demanding teacher. His influence was such that a popular pun claimed that an entire generation had been "brandered by the same Matthews." During his long tenure at Columbia, Matthews created and curated a "dramatic museum" of costumes, scripts, props, and other stage memorabilia. Originally housed in a four-room complex in Philosophy Hall, the collection was broken up and sold after his death. However, its books were incorporated into the university library and its dioramas of the Globe Theatre and other historic dramatic venues have been dispersed for public display around campus, mainly in Dodge Hall. Matthews was the inspiration for the now-destroyed Brander Matthews Theater on 117th Street, between Amsterdam Avenue and Morningside Drive. An English professorship in his name still exists at Columbia. William Archer (23 September 1856 - 27 December 1924) was a Scottish critic and writer. Life: He was born in Perth, the son of Thomas Archer. He spent large parts of his boyhood in Norway where he became acquainted with the works of Henrik Ibsen, and was later educated at the University of Edinburgh, where he received the degree of M.A. in 1876. Archer became a leader-writer on the Edinburgh Evening News in 1875, and after a year in Australia returned to Edinburgh. In 1878 he took up residence in London.In 1879 he became dramatic critic of the London Figaro, and in 1884 of the World, where he remained until 1905. In London he soon took a prominent literary place and exercised much influence. Archer had much to do with introducing Henrik Ibsen to the English public with his translation of The Pillars of Society, produced at the Gaiety Theatre, London, 1880. It was the first Ibsen play to be produced in London but made little impression.He also translated, alone or in collaboration, other productions of the Scandinavian stage: Ibsen's A Doll's House (1889), The Master Builder (1893, with Edmund Gosse); Edvard Brandes's A Visit (1892); Ibsen's Peer Gynt (1892, with Charles Archer); Little Eyolf (1895); and John Gabriel Borkman (1897); and he edited Henrik Ibsen's Prose Dramas vols., 1890-1891). In 1897 Archer, along with Elizabeth Robins, Henry William Massingham, and Alfred Sutro, formed the Provisional Committee to organize an association to produce plays of high literary intrinsic merit, such as Ibsen's. The association was called the "New Century Theatre" but was a disappointment by 1899, although it continued until at least 1904.In 1899, a more successful association, called the Stage Society, was formed to replace it. Max Beerbohm's caricature of Archer paying a humble visit to Henrik Ibsen was published in The Poets' Corner, London 1904...."

Play Making

William Archer. WILLIAM ARCHER Play-Making A Manual of Craftsmanship PLAY-MAKING PLAY- MAKING A MANUAL OF CRAFTSMANSHIP BY WILLIAM ARCHER. Front Cover.

Author: William Archer

Publisher: Wildside Press LLC

ISBN: 9781434488466

Category: Fiction

Page: 432

View: 127

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A complete guide to writing drama and plans, from the choice of a theme, characters, exposition, tension and suspense, logic, and more. Highly recommended as a starting point for writers new to crafting works for the stage.

Diana of Dobson s

Play-Making:A Manual of Craftsmanship 61—63;“The Routine of Composition” It is sometimes said that a playwright ought to construct his play back— wards, and even to write his last act first. [Here Archer includes a footnote referencing ...

Author: Cicely Hamilton

Publisher: Broadview Press

ISBN: 9781770481145

Category: Drama

Page: 206

View: 705

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Very successful when first performed in London in 1908, Diana of Dobson’s introduces its audience to the overworked and underpaid female assistants at Dobson’s Drapery Emporium, whose only alternative to their dead-end jobs is the unlikely prospect of marriage. Although Cicely Hamilton calls the play “a romantic comedy,” like George Bernard Shaw she also criticizes a social structure in which so-called self-made men profit from the cheap labour of others, and men with good educations, but insufficient inherited money, look for wealthy wives rather than for work. This Broadview edition also includes excerpts from Hamilton’s autobiography Life Errant (1935) and Marriage as a Trade (1909), her witty polemic on “the woman question”; historical documents illustrating employment options for women and women’s work in the theatre; and reviews of the original production of the play.