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Excerpt from Modern Drama and Opera, Vol. 2 The most significant phase of the development of the drama in the United States is the slow moving. Yet widespread group of movements toward the organiza tion of the theatre as a social force. We see three stages in the development of our social consciousness with reference to the drama. In the first stage. Covering the first century and more since the Revolution. Let us say. The American audience regarded the theatre as a palace of amusement and the drama a form Of literature commercialized to that end. There were. At times during this period. Manifestations of a submerged conscious ness of nationality in the United States; but an over whelming proportion of American dramatic entertain ments were transplanted from Great Britain and translated or adapted from French. And less frequently from other foreign. Playwrights. In the second stage. We may observe the actual beginnings of American dramatic art on a definite scale, and the development of the idea of the function of the drama in the life of America. Dramatists like Fitch. Thomas. Gillette. Moody. Mac Kaye. Walter came to give greater permanence to the sound beginnings of Heme and Howard. During this stage in development. There were many signs that the drama was coming to be recognized as a means of indi vidual culture. Comparable to that of any other form of literature. 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.
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Excerpt from Richard Wagner's Prose Works, Vol. 2: Opera and Drama By this time the literary longing was approaching a tangible shape, for on Sept. 20, 1850, Wagner writes again to Uhlig, and again after a reference to Sz'egfnied I am thinking of doing some literary work this autumn and winter. All generalities in art are, for the moment, repugnant to me no one understands them until his nose is driven into particulars. Now my particular work would be music, and, above all, opera. In any case, I will shortly send you rather a long article on modern opera, - about Rossini and Meyerbeer. This we may take to be the first unmis takable shadowing forth of Oper and Drama, although the title and magnitude of the eventual book are not yet within clear range of vision. Another point in this letter is the allusion in the very next sentence, already quoted in my preface to Volume i, to the receipt of a letter from Feuerbach, apparently accompanied by all that author's philosophical treatises. 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.
Excerpt from Opera and Drama (Oper Und Drama), Vol. 2 of 2: 1. Opera and the Essence of Music; 2. The Stage-Play and Dramatical Poetic Art in the Abstract; 3. Poetry and Music in the Drama of the Future That the attack of absolute musical forms cannot be regarded as an advocacy of general formless ness must be evident to all who study, for example. 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.
Excerpt from The Lyrical Drama, Vol. 2: Essays on Subjects, Composers,& Executants of Modern Opera The subject of Azda, which is tragic in the extreme, and which but for the bright and often splendid musical sur roundings given to it by Signor Verdi would be gloomy, is said to have been suggested by the Khedive himself. To the musician who first made his mark by an opera on the subject of Nebuchadnezzar, a, drama of which the scene is laid at Memphis and at Thebes, of which the action takes place in the time of the Pharaohs, and which numbers among its chief personages a triumphant King of Egypt, a captive King of Ethiopia, with an indefinite number of mysterious priests and priestesses, gorgeously attired soldiers and many coloured slaves, could scarcely fail to prove attractive and the composer of the so-called Nabuco seems to have revelled in the pageant music, dance music, religious choruses and mili tary hymns which together make up a very consider able portion of his Egyptian work. Aida is as full of show and glitter as l'africaine, and some of the themes presented in the characteristically Egyptian scenes are alleged to be of Egyptian origin. Indeed, one would not be surprised to hear that the really curious subject of the chorus in praise of the immense Phtah had, like the subject of the libretto, been furnished by the Khe dive himself. 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.
Excerpt from Theatre and Stage, Vol. 2: A Modern Guide to the Performance of All Classes of Amateur Dramatic, Operatic, and Theatrical Work Gilbert and sullivan opera 19. The Small Boy and the Supers 20. The Appearance of the Parts 21. The Operas and Their Atmosphere 22. Costume Problems and Effects. 23. Musical Points and Dancing. 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.
Excerpt from Opera Drama, Vol. 1 of 2 Effect of Lessing's Argument Relative Vocation of Imagination and the Senses Limitations of the Arts Separately. 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.
Excerpt from The Great Operas, Vol. 2: The Romantic Legends Upon Which the Masters of Song Have Founded Their Famous Lyrical Compositions And it is interesting to note that while the opera (first produced in English at London in 1858) has always been remarkably popular in Germany, France, Italy, and America, it has been rather coldly received In London, and when given at Covent Garden, in 1864. Proved a pronounced failure; but it has succeeded well on several occasions in England since that time. 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.
Excerpt from Modern Drama and Opera: A Reading Lists on the Works of D'annunzio, Hauptmann, Ibsen, Jones, Maeterlinck, Phillips, Pinero, Rostand, Shaw, Sudermann and of Debussy, Puccini, Richard Strauss Two new sections, on Henry Arthur Jones and Pinero permit some comparative study of the literary drama of the first edition and the stage play as represented in the work of these two prominent English playwrights. As the original notes on these sections were destroyed in the New York State Library fire credit for their present form is largely due to three members of the class of 1911 of the New York State Library School Mrs. Philip L. Allen and Mr. Sylvester J. Carter, who collected the material on which the present section on Pinero is based, and Miss Ruth F. Eliot who collected that on Henry Arthur Jones. 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.
Excerpt from The Opera, Vol. 2 of 3: A Novel February 7. - A call of the house has brought all the members (fox-hunting notwithstanding) to town. This morning the Park was crowded with a new order of persons: and to-night I am to accompany Bagot to a soiree at Lady Romford's. The whole party from Romford Park arrived yesterday, to remain in town till the Easter holidays. I do not think Sir Henry improved by being in love. The'great charm of his character is frank and thoughtless vivacity. 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.