closet drama


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Words related to closet drama

drama more suitable for reading that for performing

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Webster's conception of literary drama that allows audiences to see the play "acted to them only in the theatre of their minds" alludes to but also provides a feminist reworking of the closet drama form conceived of by male Romantic writers such as Byron and Coleridge, who envisioned this genre as a safe retreat from the anti-intellectual stage.
When the text is read as a closet drama, these directions establish a narrative voice whose descriptions of the scene and action temper the dramatic fervor of the spoken word and provide insight into the characters and setting.
His sudden change in writing style suggests that O'Neill's performance in Fazio was a conversional experience, convincing Shelley to abandon closet drama and create full-bodied characters that talented performers can act onstage.
Hollenbecks Zion (1886); and two scripts written as closet drama and not intended for the stage, Bayard Taylor's The Prophet (1878) and Herman Isidore Stern's Evelyn Gray, or, History of Our Western Turks (1890).
Sauer places her subject, a translation of George Buchanan's republican Baptistes that was published by Parliament in 1642/43, in the anticourt tradition of closet drama initiated by Mary Sidney, and also relates the play to Samson Agonistes.
CLOSET drama kings and queens are being invited to step into the limelight on Sunday.
Privacy, Playreading, and Women's Closet Drama, 1550-1700.
women in the closet drama of Milton and Elizabeth Cary, but the
Cavendish's other work, especially her closet drama and her scientific work, have equally attracted critical attention.
Burroughs's attentiveness to costume and different acting styles likewise adds weight to her arguments for understanding closet drama on its own terms, and Joanna Baillie as its best exponent.
The play has usually been categorized as a closet drama, indicating that it was not performed but was read aloud by a circle of people close to the author.
Mary Sidney's translation of Robert Gamier's Tragedy of Antonie (1592) has received less attention than it deserves, probably because most twentieth-century readers don't know enough about neo-Senecan closet drama to read Antonie as more than an inferior predecessor of Shakespeare's magnificent Antony and Cleopatra.
Dramatic ideology becomes defined by two contrary forces: a peak phenomenon which accentuates key periods in theatrical history leaving others in relative silence and a "culture gap" in which canonized plays are only seen by their commonality to other eras and other dramatic traditions, Therefore, Cox argues that drama during this key period (he carefully avoids its more conventional terminology of Romantic period) is viewed as either reflective of Elizabethan drama or deeply divided as closet drama or as popular "stagey" performance drama.
He notes, for example, the play's 'sense of action hastening forward, of event erupting into event and engendering new event, an effect alien to closet drama but familiar on the stage', centring his analysis on one of the play's few actual stage directions.
From the beginning of the book, the author posits that N-Town may have been a closet drama, a liturgical, or devotional aid for reading, but ignores the fact that the manuscript has unmistakable prompt notes for production in the margins.