The Actor's Freedom: Toward a Theory of DramaViking Press, 1975 - Всего страниц: 180 The author draws on maenadism, shamanism, pagan and Christian religious traditions plus psychology and psychiatry to demonstrate how much more acting means than mere imitation. |
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Стр. 64
... activity seems quite unbridgeable . Beginning , perhaps , with Ibsen's charac- ters ' painful , frustrated impulse toward " the joy of life , " modern drama seems to have drawn increasing nourish- ment from the circumstance that man has ...
... activity seems quite unbridgeable . Beginning , perhaps , with Ibsen's charac- ters ' painful , frustrated impulse toward " the joy of life , " modern drama seems to have drawn increasing nourish- ment from the circumstance that man has ...
Стр. 117
... activity into action , but while it shapes the action , the activity tends to stop . This is one of the reasons why excellent novelist's dialogue , which reads aloud well , and may even be an accurate transcript of real speech , tends ...
... activity into action , but while it shapes the action , the activity tends to stop . This is one of the reasons why excellent novelist's dialogue , which reads aloud well , and may even be an accurate transcript of real speech , tends ...
Стр. 133
... activity , or a finely sustained embarrassing pause - ready to be echoed , finally , in the violence of our laughter . So in its own terms , even commercial fluff must have its sparagmos . It's as if the terrificness of the actor could ...
... activity , or a finely sustained embarrassing pause - ready to be echoed , finally , in the violence of our laughter . So in its own terms , even commercial fluff must have its sparagmos . It's as if the terrificness of the actor could ...
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achievement acting action actor actor and audience actor-as-character actor's art aggression appearance appetite Aristotle audience's awareness become body Brecht Brechtian ceremony character Chekhov Cleopatra comedy comic course dangerous dead death define described dialogue Dionysus disguise drama dramatic hero dumbshow effect ego-universe Elizabethan emotions energy example exciting experience expression Falstaff fear feel freedom Garrick gesture ghosts hamartia Hamlet haunting histrionic human Ibsen's identification identity imagine imitation impersonation impulse Jacques Roux Jean-Louis Barrault kind maenads Marat/Sade mask means mimesis mind notion O. B. Hardison Oedipus on-stage ordinary Orokolo Othello Pentheus performance perhaps Piaget play play-acting play's playwright plot present primitive protection realism reality relation René Spitz response revenge risk ritual role sacred scene Schechner script seems self-definition sense Shakespeare simply speech spirit stage style suggest symbols T. S. Eliot Tamburlaine terrific theater theatrical theory things threatening thrust tion tragedy uncanny victim word