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Excerpt from Plays, Acting, and Music
The book is intended to form part of a series, on which I have been engaged for many years. I am gradually working my way towards the concrete expression of a theory, or system of aesthetics, of all the arts. In my book on The Symbolist Movement in Literature I made a first attempt to deal in this way with literature; other volumes, now in preparation, are to follow. The present volume deals mainly with the stage, and, secondarily, with music it is to be followed by a volume called Studies in the Seven Arts, in which music will be dealt with in greater detail, side by side with painting, sculpture, architecture, handicraft, dancing, and the various arts of the stage. And, as life too is a form of art, and the visible world the chief storehouse of beauty, I try to indulge my curiosity by the study of places and of people. 'a book on Cities is now in the press, and a book of imaginary portraits is to follow, under the title of Spiritual Adventures. Side by side with these studies i the arts I have my own art, that of verse, which is, after my chief concern.
In all my critical and theoretical writing I wish to be as little abstract as possible, and to study first principles, not so much as they exist in the brain of the theorist, but as they may be discovered, alive and in effective action, in every achieved form of art. I do not understand the limitation by which so many writers on aesthetics choose to confine them selves to the study of artistic principles as they are seen in this or that separate form of art. Each art has its own laws, its own capacities, its own limits; these it is the business of the critic jealously to distinguish. Yet, in the study of art as art, it should be his endeavour to master the universal science of beauty.
July 1903./a Paradox on Art: p. I. Technique and the Artist: p. 5. Nietzsche on Tragedy: p. 9. A Re ection at a Dolmetsch Concert: p. I 3. The Dramatisation of Song: p. 18. The Speaking of Verse: p. 23. Sarah Bernhardt: p. 27. Rostand, Sarah, and Coquelin: p. 34. Coquelin and Moliere: p. 39. Rejane and Jane Hading: p. 44. [sir Henry Irving: p. 48. Duse in some of her Parts: p. 53. Pachmann, Parsifal, and the Pathetic Symphony: p. 64. Pachmann and the Piano: p. 68. Maeterlinck, Everyman, and the Japanese Players: p. 72. /music, Staging, and some Acting: p. 78. The Test of the Actor: p. 84. Tolstoi and the Others: p. 88. Literary Drama: p. 94. Mr. Stephen Phillips and a Lecture: p. 99. Some Plays and the Public: p. 10 5. Ben Hur on the Stage: p. 109. Faust at the Lyceum: p. I I3. Yvette Guilbert: p. 117. The Paris Music Hall: p. 12 3.
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publisher: Forgotten Books (December 3, 2016)
isbn: 1334503761, 978-1334503764,
weight: 11.5 ounces (