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. 7
... energy I referred to earlier , the energy which is other - than- mimetic . In the rest of this chapter , I shall be trying to describe more fully what this strangeness is like and where it comes from , as well as some of the ways it ...
... energy I referred to earlier , the energy which is other - than- mimetic . In the rest of this chapter , I shall be trying to describe more fully what this strangeness is like and where it comes from , as well as some of the ways it ...
Стр. 23
... energy working outward from somewhere inside the individual , looking for materials on which to make an impression ... energy ( and the related ag- gressive energy of the audience ) ample and interesting scope Actor and Audience * 23.
... energy working outward from somewhere inside the individual , looking for materials on which to make an impression ... energy ( and the related ag- gressive energy of the audience ) ample and interesting scope Actor and Audience * 23.
Стр. 133
... energy leaping around the theater in the form , say , of a nifty reversal , or a spasm of activity , or a finely sustained embarrassing pause - ready to be echoed , finally , in the violence of our laughter . So in its own terms , even ...
... energy leaping around the theater in the form , say , of a nifty reversal , or a spasm of activity , or a finely sustained embarrassing pause - ready to be echoed , finally , in the violence of our laughter . So in its own terms , even ...
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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