This volume begins with the naturalistic revolt in France against traditional styles of theatre. As realism becomes a European movement the account moves from Paris to the Meiningen company and Ibsen's work as producer and play-wright in Oslo, Chekhov's in Moscow, Shaw's in London, Synge's in Dublin. Among the producers are Antoine, Brahm, Grein, Granville-Baker, Nemirovich-Danchenko and Stanislavsky. The early days of the Irish Dramatic Movement and the chief realistic directors and critics in the USA after Belasco are considered; the tradition is shown to persist in the work of Williams and Miller in the USA and Osborne and Bond in England.
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One man's prose is often another man's poetry. 剧作上主要以易卜生和契诃夫为现实主义的两支，表演上则以斯坦尼及其美国门徒——方法派为主。读到背台曾被视为自然主义的表现形式，不禁想起一些人喜欢鼓吹的围绕舞台支点设计舞台动作，真刻板蠢笨。
评分One man's prose is often another man's poetry. 剧作上主要以易卜生和契诃夫为现实主义的两支，表演上则以斯坦尼及其美国门徒——方法派为主。读到背台曾被视为自然主义的表现形式，不禁想起一些人喜欢鼓吹的围绕舞台支点设计舞台动作，真刻板蠢笨。
评分One man's prose is often another man's poetry. 剧作上主要以易卜生和契诃夫为现实主义的两支，表演上则以斯坦尼及其美国门徒——方法派为主。读到背台曾被视为自然主义的表现形式，不禁想起一些人喜欢鼓吹的围绕舞台支点设计舞台动作，真刻板蠢笨。
评分One man's prose is often another man's poetry. 剧作上主要以易卜生和契诃夫为现实主义的两支，表演上则以斯坦尼及其美国门徒——方法派为主。读到背台曾被视为自然主义的表现形式，不禁想起一些人喜欢鼓吹的围绕舞台支点设计舞台动作，真刻板蠢笨。
评分One man's prose is often another man's poetry. 剧作上主要以易卜生和契诃夫为现实主义的两支，表演上则以斯坦尼及其美国门徒——方法派为主。读到背台曾被视为自然主义的表现形式，不禁想起一些人喜欢鼓吹的围绕舞台支点设计舞台动作，真刻板蠢笨。
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