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. 61
... especially against conventional opinion . But the opening out reveals the determined trap ; the achievement has the exaltation , isolation , and fatality of the mountain peak . Ibsen's heroes have all the energy and monomania , all the ...
... especially against conventional opinion . But the opening out reveals the determined trap ; the achievement has the exaltation , isolation , and fatality of the mountain peak . Ibsen's heroes have all the energy and monomania , all the ...
Стр. 120
... especially clear to us and that in moments of high imaginative activity or under the in- fluence of a compelling dramatic performance , we enter into another's identity with a similar clarity . But in fact this is not so . First of all ...
... especially clear to us and that in moments of high imaginative activity or under the in- fluence of a compelling dramatic performance , we enter into another's identity with a similar clarity . But in fact this is not so . First of all ...
Стр. 146
... especially notable precisely at moments when the actor might be tempted to let his performance become " bitty , " to play for the surface value of a highly separable speech or passage . For instance , toward the end of many Shake ...
... especially notable precisely at moments when the actor might be tempted to let his performance become " bitty , " to play for the surface value of a highly separable speech or passage . For instance , toward the end of many Shake ...
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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