๋จ๋ฝ์ ํด๋ฆญํ๋ฉด ์ดํยท๋ฌธ๋ฒ ํด์ค์ด ์ค๋ฅธ์ชฝ์ ํ์๋ฉ๋๋ค.
PLAY-MAKING A Manual of Craftsmanship by William Archer 1912 PREFATORY NOTE This book is, to all intents and purposes, entirely new. No considerable portion of it has already appeared, although here and there short passages and phrases from articles of bygone years are embedded --indistinguishably, I hope--in the text. I have tried, wherever it was possible, to select my examples from published plays, which the student may read for himself, and so check my observations. One reason, among others, which led me to go to Shakespeare and Ibsen for so many of my illustrations, was that they are the most generally accessible of playwrights.
ํด์ค ๋ณด๊ธฐ โIf the reader should feel that I have been over lavish in the use of footnotes, I have two excuses to allege. The first is that more than half of the following chapters were written on shipboard and in places where I had scarcely any books to refer to; so that a great deal had to be left to subsequent enquiry and revision. The second is that several of my friends, dramatists and others, have been kind enough to read my manuscript, and to suggest valuable afterthoughts.
ํด์ค ๋ณด๊ธฐ โLONDON January, 1912 To Brander Matthews Guide Philosopher and Friend CONTENTS BOOK I PROLOGUE CHAPTER I INTRODUCTORY CHAPTER II THE CHOICE OF A THEME CHAPTER III DRAMATIC AND UNDRAMATIC CHAPTER IV THE ROUTINE OF COMPOSITION CHAPTER V DRAMATIS PERSONAE
ํด์ค ๋ณด๊ธฐ โBOOK II THE BEGINNING CHAPTER VI THE POINT OF ATTACK: SHAKESPEARE AND IBSEN CHAPTER VII EXPOSITION: ITS END AND ITS MEANS CHAPTER VIII THE FIRST ACT CHAPTER IX "CURIOSITY" AND "INTEREST" CHAPTER X FORESHADOWING, NOT FORESTALLING
ํด์ค ๋ณด๊ธฐ โBOOK III THE MIDDLE CHAPTER XI TENSION AND ITS SUSPENSION CHAPTER XII PREPARATION: THE FINGER-POST CHAPTER XIII THE OBLIGATORY SCENE CHAPTER XIV THE PERIPETY CHAPTER XV PROBABILITY, CHANCE AND COINCIDENCE CHAPTER XVI LOGIC CHAPTER XVII KEEPING A SECRET
ํด์ค ๋ณด๊ธฐ โBOOK IV THE END CHAPTER XVIII CLIMAX AND ANTICLIMAX CHAPTER XIX CONVERSION CHAPTER XX BLIND-ALLEY THEMES--AND OTHERS CHAPTER XXI THE FULL CLOSE BOOK V EPILOGUE CHAPTER XXII CHARACTER AND PSYCHOLOGY CHAPTER XXIII DIALOGUE AND DETAILS
ํด์ค ๋ณด๊ธฐ โBOOK I PROLOGUE CHAPTER I INTRODUCTORY There are no rules for writing a play. It is easy, indeed, to lay down negative recommendations--to instruct the beginner how not to do it. But most of these "don'ts" are rather obvious; and those which are not obvious are apt to be questionable. It is certain, for instance, that if you want your play to be acted, anywhere else than in China, you must not plan it in sixteen acts of an hour apiece; but where is the tyro who needs a text-book to tell him that? On the other hand, most theorists of to-day would make it an axiom that you must not let your characters narrate their circumstances, or expound their motives, in speeches addressed, either directly to the audience, or ostensibly to their solitary selves.
ํด์ค ๋ณด๊ธฐ โ"Now is the winter of our discontent Made glorious summer by this sun of York; And all the clouds that lour'd upon our house In the deep bosom of the ocean buried"--
ํด์ค ๋ณด๊ธฐ โ