The art of dramatic writing : its basis in the creative interpretation of human motives
Lajos EgriFormat: Hardback.
General.
Contents......Page 7
Foreword......Page 9
Preface......Page 12
I Premise......Page 16
1. The Bone Structure......Page 47
2. Environment......Page 58
3. The Dialectical Approach......Page 64
4. Character Growth......Page 74
5. Strength of Will and Character......Page 92
6. Plot or Character - Which?......Page 101
7. Characters plotting their own Play......Page 115
8. Pivotal Character......Page 121
9. The Antagonist......Page 128
10. Orchestration......Page 129
11. Unity of Opposites......Page 133
1. Origin of Action......Page 140
2. Cause and Effect......Page 141
3. Static......Page 151
4. Jumping......Page 161
5. Rising......Page 177
6. Movement......Page 186
7. Foreshadowing Conflict......Page 193
8. Point of Attack......Page 197
9. Transition......Page 207
10. Crisis, Climax, Resolution......Page 233
1. Obligatory Scene......Page 245
2. Exposition......Page 249
3. Dialogue......Page 253
4. Experimentation......Page 260
5. The Timelines of a Play......Page 263
6. Entrances and Exits......Page 266
7. Why are some bad Plays successful?......Page 268
8. Melodrama......Page 270
9. On Genius......Page 271
10. What is Art? - A Dialogue......Page 274
11. When you write a Play......Page 277
12. How to get Ideas......Page 280
13. Writing for Television......Page 289
14. Conclusion......Page 293
1. Tartuffe......Page 294
2. Ghosts......Page 299
3. Mourning becomes Electra......Page 304
4. Dinner at Eight......Page 305
5. Idiot's Delight......Page 307
Appendix B - How to market your Play......Page 309
Appendix C - Long Runs on Broadway......Page 313
About the Author......Page 317
Index......Page 318
Contents 7
Foreword 9
Preface 12
I Premise 16
II Character 47
1. The Bone Structure 47
2. Environment 58
3. The Dialectical Approach 64
4. Character Growth 74
5. Strength of Will and Character 92
6. Plot or Character - Which? 101
7. Characters plotting their own Play 115
8. Pivotal Character 121
9. The Antagonist 128
10. Orchestration 129
11. Unity of Opposites 133
III Conflict 140
1. Origin of Action 140
2. Cause and Effect 141
3. Static 151
4. Jumping 161
5. Rising 177
6. Movement 186
7. Foreshadowing Conflict 193
8. Point of Attack 197
9. Transition 207
10. Crisis, Climax, Resolution 233
IV General 245
1. Obligatory Scene 245
2. Exposition 249
3. Dialogue 253
4. Experimentation 260
5. The Timelines of a Play 263
6. Entrances and Exits 266
7. Why are some bad Plays successful? 268
8. Melodrama 270
9. On Genius 271
10. What is Art? - A Dialogue 274
11. When you write a Play 277
12. How to get Ideas 280
13. Writing for Television 289
14. Conclusion 293
Appendix A - Plays analyzed 294
1. Tartuffe 294
2. Ghosts 299
3. Mourning becomes Electra 304
4. Dinner at Eight 305
5. Idiot's Delight 307
Appendix B - How to market your Play 309
Appendix C - Long Runs on Broadway 313
About the Author 317
Index 318
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