Author: Brander MatthewsPublisher:
ISBN:
Category : Dramatists, French
Languages : en
Pages : 336
Book Description
French Dramatists of the 19th Century
Author: Brander MatthewsPublisher:
ISBN:
Category : Dramatists, French
Languages : en
Pages : 336
Book Description
French Dramatists of the Nineteenth Century
Author: Brander MatthewsPublisher:
ISBN:
Category : Dramatists, French
Languages : en
Pages : 0
Book Description
French Dramatists of the 19th Century
Author: Brander MatthewsPublisher: Wentworth Press
ISBN: 9780526733637
Category : Biography & Autobiography
Languages : en
Pages : 330
Book Description
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.
French Dramatists of the 19th Century
Author: Brander MatthewsPublisher: Palala Press
ISBN: 9781355846017
Category :
Languages : en
Pages : 356
Book Description
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.
French Dramatists of the Nineteenth Century
Author: Brander MatthewsPublisher: Theclassics.Us
ISBN: 9781230202112
Category :
Languages : en
Pages : 82
Book Description
This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1901 edition. Excerpt: ...the first-fruits of this new philosophy, the preacher fortunately has not yet overmastered the playwright. The piece is a marvel of polemic literature, a model in the art of teaching by example. Mr. John Morley instances it as one of the very few modern plays which Diderot would recognize as belonging to the genre strieux, which began with his own ' Pere de Famille.' It treats an important subject honestly and with intellectual seriousness: there is none of the petty begging of the question which disfigures two other works on the same subject, --the 'Fernande' of M. Victorien Sardou, and the ' New Magdalen' of Mr. Wilkie Collins; both clever men, lacking, however, in the courage and the candor needed to face the problem fairly. There is a fourth work of fiction, published not long after M. Dumas's, which approaches the subject with the same appreciation of its demands and its difficulties. This is a novel, ' Hedged In, ' by Miss Elizabeth Stuart Phelps, as representatively New England as the ' Idees de Madame Aubray' is French. It is of course a mere paradox to say that M. Dumas, since his regeneration, appears to me as a typical New-Englander; but he has something of the New-England spirit, and he stands at times in the New-England attitude. He recalls, in a way, both Nathaniel Hawthorne and Oliver Wendell Holmes. His theology is in essence Unitarian. I have before made mention of his very New-England knack of biblical quotation; and, as his recent volume on divorce shows, he is as prone to search the Scriptures for a text wherewith to smite his adversary, as any of those chips of Plymouth Rock who "take to the ministry mostly." Without pushing the analogy too far, we can see it stand out plainly when we set the ' Idees de Madame Aubray'...
French Dramatists of the 19th Century
Author: James Brander MatthewsPublisher: Palala Press
ISBN: 9781354869949
Category :
Languages : en
Pages : 314
Book Description
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.
The Theatre Industry in Nineteenth-Century France
Author: Frederick William John HemmingsPublisher: Cambridge University Press
ISBN: 0521441420
Category : Drama
Languages : en
Pages : 335
Book Description
This 1993 book explores the history of French theatre in the nineteenth century.
Women Dramatists, Humor, and the French Stage
Author: J. JohnstonPublisher: Springer
ISBN: 1137452900
Category : History
Languages : en
Pages : 376
Book Description
Filling a critical void, this book examines French women dramatists of the nineteenth-century who staged works prior to the lifting of censorship laws in 1864. Though none staged overtly feminist drama, Sophie de Bawr, Sophie Gay, Virginie Ancelot, and Delphine Girardin questioned patriarchal dominance and reconstructed ideals of womanhood.
The Nineteenth Century
Author: Three Modern Plays from the French
Author: Henri LavedonPublisher: CreateSpace
ISBN: 9781495343094
Category : Drama
Languages : en
Pages : 284
Book Description
An excerpt from the beginning of the PREFACE: THE label "Made in France" may nearly always be accepted as a guarantee of good play-making; for, ever since the inception of the modern drama, the French have been the masters and the teachers of the craft. In these opening years of the twentieth century, fewer French plays have been presented in the theaters of America and England than were presented in the closing years of the nineteenth century; but this fact, instead of indicating a deterioration in the contemporary product, may be accepted, rather, as an indication that the French drama has made a definite advance along a certain line. The dominant spirit of the French drama in the last three generations has been realistic. As realism advances, the tendency is to narrow the segment of life that is submitted to observation and to deepen the observation of the segment that has been selected for analysis. As realism has progressed in France, the drama has become more French—more local in its themes and in its characters— and has sacrificed the breadth of cosmopolitan appeal to gain the depth of national importance. Three or four generations ago, the most popular dramatist in France was Eugene Scribe. It was this facile and prolific craftsman who gave to the modern theater the formula of the well-made play [la pièce bien faite], a formula that, with several modifications and amplifications, has subsisted to the present day. Since the excellence of Scribe was mainly structural, it was very easy to transplant his plays from one country to another. His dialogue was devoid of literary merit, and was therefore just as pertinent in a translation as in the original. His characters were merely puppets, and were therefore just as interesting to foreigners as they could ever be to Frenchmen. And, since there was no note of nationality in his dexterous and clever plots, these plots could easily be adapted to serve as the theatric fare of a public overseas. A simple play of plot is much more cosmopolitan in its appeal than a study of national characters or local situations. The broad and cosmopolitan appeal of Scribe was continued by his immediate disciple and successor, Victorien Sardou. A typical Sardou melodrama, like Fedora or La Tosca, was fully as enjoyable to foreign audiences as to the public of Paris. The logical successor of Sardou in the contemporary French theater is M. Henry Bernstein; and it is not surprising that his plays have been more successful in America than those of any other French playwright of the present time. No less than five of his works — The Whirlwind, The Thief, Samson, Israel, and The Secret — have been profitably acted in this country. M. Bernstein is a more important dramatist than Sardou or Scribe, for he has forced the formula of the well-made play to sustain an analysis of character that is unusually searching; but his merit is, in the main, a matter of mechanics, and his emphasis on mechanism may be accepted as accounting for the comparative ease with which his plays may be transported from one country to another. In France itself, while Scribe was still alive, his reputation was overridden by two dramatists of more profound intention,—Emile Augier and Alexandre Dumas, fils; but neither of these writers attained the cosmopolitan currency of their more mechanical and artificial rival. Augier—the greatest French dramatist of the nineteenth century—devoted himself to the study of social conditions which were peculiarly French; and it was impossible to make his plays seem applicable to the social conditions of any other country. Just as M. Bernstein has been singled out as the logical successor of Sardou and Scribe, M. Eugene Brieux may be selected as the logical successor of Augier in the contemporary theater....