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. 23
... audience , is the stuff of drama . At least three kinds will be simultaneously present in the theater , and each will have its effect on what we feel as the " action " of the ... audience ) ample and interesting scope Actor and Audience * 23.
... audience , is the stuff of drama . At least three kinds will be simultaneously present in the theater , and each will have its effect on what we feel as the " action " of the ... audience ) ample and interesting scope Actor and Audience * 23.
Стр. 45
... audience's own rebelliousness and fear , per- haps the very fear of theater itself , the fear of subjecting sacred things to impersonation . Though Falstaff resembles the Vice - samuna only in some respects — his approach to the audience ...
... audience's own rebelliousness and fear , per- haps the very fear of theater itself , the fear of subjecting sacred things to impersonation . Though Falstaff resembles the Vice - samuna only in some respects — his approach to the audience ...
Стр. 84
... audience : The script regulates . . . the possibilities of too great or too little illusion in the performer - audience relation- ship by creating a shared realm between the performer and audience in which the very formulation of ques ...
... audience : The script regulates . . . the possibilities of too great or too little illusion in the performer - audience relation- ship by creating a shared realm between the performer and audience in which the very formulation of ques ...
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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