INTRODUCTION |
| [An Apology for Puppets] | 3 |
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PLAYS AND ACTING |
|
| [Nietzsche on Tragedy] | 11 |
| [Sarah Bernhardt] | 17 |
| [Coquelin and Molière] | 29 |
| [Réjane] | 37 |
| [Yvette Guilbert] | 42 |
| [Sir Henry Irving] | 52 |
| [Duse in Some of Her Parts] | 60 |
| [Annotations] | 77 |
| [M. Capus in England] | 93 |
| [A Double Enigma] | 100 |
DRAMA |
|
| [Professional andUnprofessional] | 109 |
| [Tolstoi and Others] | 115 |
| [Some Problem Plays] | 124 |
| ["Monna Vanna"][xii] | 137 |
| [The Question of Censorship] | 143 |
| [A Play and the Public] | 148 |
| [The Test of the Actor] | 152 |
| [The Price of Realism] | 162 |
| [On Crossing Stage to Right] | 167 |
| [The Speaking of Verse] | 173 |
| [Great Acting in English] | 182 |
| [A Theory of the Stage] | 200 |
| [The Sicilian Actors] | 213 |
MUSIC |
|
| [On Writing about Music] | 229 |
| [Technique and the Artist] | 232 |
| [Pachmann and the Piano] | 237 |
| [Paderewski] | 258 |
| [A Reflection at a DolmetschConcert] | 268 |
| [The Dramatisation of Song] | 277 |
| [The Meiningen Orchestra] | 284 |
| [Mozart in theMirabell-Garten] | 290 |
| [Notes on Wagner at Bayreuth] | 297 |
|
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| [Conclusion: A Paradox on Art] | 315 |