The Theatrical 'world'.: 1893-1897, Volume 1W. Scott, 1895 |
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Common terms and phrases
actor Adelphi admirable Adrian Ross amusing Arthur artistic audience Augustus Harris beautiful burlesque Captain Captain Starlight Cast certainly character Charles charm clever Comedy in Three comic criticism Daly's Theatre delight dialogue doubt drama dramatist English excellent extravaganza farce feel Four Acts Fred Fred Terry French Gaiety Girl Garrick George Gilbert Girl Go-Bang Grundy Grundy's Harry Hawtrey Henry Arthur Jones hero heroine Herr humour Ibsen ideal ingenuity interest invention James John Jones Lady least loveress Madame manager Miss Edith Miss Fanny Miss Florence Miss Kate Miss Mary moral night Opera Comique Pall Mall Budget pantomime performance perhaps piece play popular produced romance Sardou satire scene second act Second Mrs Tanqueray seemed sense Seymour Hicks simply stage success Sydney Grundy theatre theatrical thing third act Three Acts villain Violet Weedon Grossmith whole William Withdrawn woman word write Wyndham
Popular passages
Page 420 - Ibsen's characters speak and act as if they -were hypnotised, and under their creator's imperious demand to reveal themselves. There never was such a mirror held up to nature before: it is too terrible.
Page 128 - Of aspect more sublime : that blessed mood In which the burthen of the mystery, In which the heavy and the weary weight Of all this unintelligible world. Is lightened; that serene and blessed mood. In which the affections gently lead us on...
Page 420 - ... set of volumes comprising the dramas thus presents them in chronological order. "The art of prose translation does not perhaps enjoy a very high literary status in England, but we have no hesitation in numbering the present version of Ibsen, so far as it has gone (Vols. I. and II.), among the very best achievements, in that kind, of our generation.
Page 113 - ... experience — the sensations of a soldier in battle and in flight. In the second act all is changed. Bluntschli, in whom the author practically speaks in his own person, without any effort at dramatization, has almost disappeared from the scene, and the really dramatic effort commences in the characterization of the Byronic swaggerer, Sergius Saranoff, and the working out of his relation to Rai'na. At once Mr Shaw's ease and lightness of touch desert him, and we find ourselves in Mr Gilbert's...
Page 109 - But I more than suspect that he conceives himself to have written a serious comedy, a reproduction of life as it really is, with men and women thinking, feeling, speaking, and acting as they really do think, feel, speak and act. Instead of presenting an episode in the great war between the realms of Griinewald and Gerolstein, or in the historic conflict between Paphlagonia and Grim Tartary, he places his scene in the (more or less) real principality of Bulgaria, dates his action to the year and day...
Page xvii - ... not in the least due to the vanity and jealousy of the actor-manager: it is due to his popularity. The strongest fascination at a theatre is the fascination of the actor or actress, not of the author. More people go to the Lyceum Theatre to see Mr Irving and Miss Ellen Terry than to see Shakespear's plays; at all events, it is certain that if Mr Irving were to present himself in as mutilated a condition as he presented King Lear, a shriek of horror would go up from all London.