| Author: | Brander Matthews | ISBN: | 9789633811641 |
| Publisher: | Publio Kiadó | Publication: | December 1, 2013 |
| Imprint: | Language: | English |
| Author: | Brander Matthews |
| ISBN: | 9789633811641 |
| Publisher: | Publio Kiadó |
| Publication: | December 1, 2013 |
| Imprint: | |
| Language: | English |
Let me begin by confessing my regret that I cannot overhear your first remark when you receive this sheaf of essays, many of which are devoted to the subordinate subdivisions of the art of the stage. As it is, I can only imagine your surprise at discovering that this book, which contains papers dealing with certain aspects of the theater rarely considered to be worthy of criticism, is signed by the occupant of the earliest chair to be established in any American university specifically for the study of dramatic literature. I fancy I can hear the expression of your wonder that a sexagenarian professor should turn aside from his austere analysis of the genius of Sophocles and of Shakspere, of Molière and of Ibsen, to discuss the minor arts of the dancer and the acrobat, to chatter about the conjurer and the negro minstrel, to consider the principles of pantomime and the development of scene-painting. But I am emboldened to hope that your surprise will be only momentary, and that you will be moved to acknowledge that perhaps there may be some advantage to be derived from these deviations into the by-paths of stage history.
Let me begin by confessing my regret that I cannot overhear your first remark when you receive this sheaf of essays, many of which are devoted to the subordinate subdivisions of the art of the stage. As it is, I can only imagine your surprise at discovering that this book, which contains papers dealing with certain aspects of the theater rarely considered to be worthy of criticism, is signed by the occupant of the earliest chair to be established in any American university specifically for the study of dramatic literature. I fancy I can hear the expression of your wonder that a sexagenarian professor should turn aside from his austere analysis of the genius of Sophocles and of Shakspere, of Molière and of Ibsen, to discuss the minor arts of the dancer and the acrobat, to chatter about the conjurer and the negro minstrel, to consider the principles of pantomime and the development of scene-painting. But I am emboldened to hope that your surprise will be only momentary, and that you will be moved to acknowledge that perhaps there may be some advantage to be derived from these deviations into the by-paths of stage history.
