T.S. Eliot's Dramatic Theory and Practice

1963 ◽  
Author(s):  
Carol H. Smith
Keyword(s):  
Theory And Practice ◽  
Dramatic Theory

Pygmalion: Bernard Shaw's Dramatic Theory and Practice

PMLA ◽  
1951 ◽  
Vol 66 (6) ◽  
pp. 879-885
Author(s):  
Milton Crane
Keyword(s):  
Theory And Practice ◽  
Very Old ◽  
Dramatic Theory ◽  
China And Japan ◽  
Bernard Shaw

In the last of his many discussions of the so-called play of ideas, Bernard Shaw remarked, “I was, and still am, the most old-fashioned playwright outside China and Japan.” This is one of the few statements that Shaw made about his own work of which we may safely believe every word—always assuming him to be correct about China and Japan. He was, to be sure, merely echoing his earlier, confession in the Preface to Three Plays For Puritans, in which he had defended The Devil's Disciple against a reckless charge of originality: “If it applies to the incidents, plot, construction, and general professional and technical qualities of the play, [it] is nonsense; for the truth is, I am in these matters a very old-fashioned playwright.” He elsewhere admonished us: “Remember that my business as a classic writer of comedies is ‘to chasten morals with ridicule’ . . .” It is my purpose here to describe and interpret some of the stages through which Shaw passed and some of the attitudes which he assumed in the course of coming to such conclusions.

Putting on the New Self

2019 ◽  
Vol 61 (3) ◽  
pp. 289-307
Author(s):  
David Starling
Keyword(s):  
Theory And Practice ◽  
Theological Interpretation ◽  
Dramatic Theory ◽  
Greco Roman

AbstractThis article argues that the principal background against which the clothing metaphor in Eph 4:22, 24 would have been understood by the letter’s original hearers is that of the theater, within which changes of costume signalled changes of identity, character, or fate. After a brief survey of recent scholarly commentaries (which pay surprisingly little attention to the possibility of a theatrical background to the metaphor in these verses) it highlights instances of similar expressions within Greco-Roman theatrical contexts, both literal and metaphorical, discusses the relevant aspects of ancient dramatic theory and practice, and explores the implications of this reading for theological interpretation of Ephesians.

scholarly journals Die begrip dramatiese didaskalia (weer) beskou

Literator ◽  
1996 ◽  
Vol 17 (2) ◽  
pp. 1-16 ◽  
Author(s):  
J. L. Coetser
Keyword(s):  
South Africa ◽  
Theory And Practice ◽  
Historical Background ◽  
Doctoral Thesis ◽  
Dramatic Theory ◽  
Sign System ◽  
Master's Thesis

The dramatic didascalies revisited The concept of dramatic didascalies has received little theoretical attention in South Africa. Mouton (1989:166-195) included a chapter on the topic in her published doctoral thesis and Van der Merwe (1992) completed a master’s thesis on the didascalies as sign-system in dramas by M.S. Serudu. Both theses draw on an article by Savona (1982), in which virtually no attention is paid to the etymological influence of the word on the general meanings and interpretations attached to it. Consequently, the purpose of this article is to trace the correspondences between the historical background of the word "didascalies" and its applications to dramatic theory and practice. Historically it is possible to distinguish two main groups of literary didascalies in the published text of a play. Direct didascalies derive from the playwright, but indirect didascalies are supplied by someone else.

T. S. Eliot's Dramatic Theory and Practice

1964 ◽  
Vol 59 (1) ◽  
pp. 135 ◽  
Author(s):  
M. C. Bradbrook ◽  
Carol H. Smith
Keyword(s):  
Theory And Practice ◽  
Dramatic Theory
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