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. 5
... carries out and that of the other arts ; the difference between using one's body as a medium - one's entire body , that is , and all that animates the body - and using media distinguishable from one's entire body , like pig- / ment or ...
... carries out and that of the other arts ; the difference between using one's body as a medium - one's entire body , that is , and all that animates the body - and using media distinguishable from one's entire body , like pig- / ment or ...
Стр. 13
... the actor . His transport carries him into impersonation . He abandons his own personality and adopts another , expressing this by radical changes in dress , carriage , expression , and behavior . He acts the god and Actor and Audience * ...
... the actor . His transport carries him into impersonation . He abandons his own personality and adopts another , expressing this by radical changes in dress , carriage , expression , and behavior . He acts the god and Actor and Audience * ...
Стр. 110
... carries us deeper into the world and protects us from it . It allows us and the actors a special freedom , which has the power to evoke other deep awarenesses of freedom , of all that freedom threatens and is threatened by . The world ...
... carries us deeper into the world and protects us from it . It allows us and the actors a special freedom , which has the power to evoke other deep awarenesses of freedom , of all that freedom threatens and is threatened by . The world ...
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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