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. 13
... feel the same double impulse toward us , which in turn becomes part of what we feel as we watch them mastering their audience . Our reaction to them heightens the double impulse , drives it toward a point of tension . We are at once the ...
... feel the same double impulse toward us , which in turn becomes part of what we feel as we watch them mastering their audience . Our reaction to them heightens the double impulse , drives it toward a point of tension . We are at once the ...
Стр. 46
... feels " what he is doing— as we feel it ; nor that he feels nothing - as we feel nothing . Garrick putting his face through a door and going through a dazzling series of facial changes im- pressed Diderot because , he tells us , it ...
... feels " what he is doing— as we feel it ; nor that he feels nothing - as we feel nothing . Garrick putting his face through a door and going through a dazzling series of facial changes im- pressed Diderot because , he tells us , it ...
Стр. 94
... feel pleasure when the fantasy is allowed full exercise , when we can ride with it and feel its fears at play in the living bodies of the actors . Often the force of this excitement is felt as the risk of shock- nearly too much ...
... feel pleasure when the fantasy is allowed full exercise , when we can ride with it and feel its fears at play in the living bodies of the actors . Often the force of this excitement is felt as the risk of shock- nearly too much ...
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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