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. 83
... emotions or the props they wield are " real , " but the standard of realism invoked is radically different from that used to judge actions , emotions , and objects in " real life . " It has to do with maintaining a relation to the ...
... emotions or the props they wield are " real , " but the standard of realism invoked is radically different from that used to judge actions , emotions , and objects in " real life . " It has to do with maintaining a relation to the ...
Стр. 150
... emotion in action , to the transforma- tion of emotions into impersonations , " scripted " and controlled : Play action is characterized by the unmodified ex- pression of the instincts of love and hate in the form of play . Play acting ...
... emotion in action , to the transforma- tion of emotions into impersonations , " scripted " and controlled : Play action is characterized by the unmodified ex- pression of the instincts of love and hate in the form of play . Play acting ...
Стр. 151
... emotions to play- acting . At the end of the second act , when Hamlet contrasts the Player's feigned passion over Hecuba with his own real emotion , he flies into a fury in which he rants like a conventional stage revenger , but then he ...
... emotions to play- acting . At the end of the second act , when Hamlet contrasts the Player's feigned passion over Hecuba with his own real emotion , he flies into a fury in which he rants like a conventional stage revenger , but then he ...
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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