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. 15
... figure who in some sense defies the gods , becomes vulnerable to them . But if , because of his power and daring , he is always in some way attractive to us , it is also true that we always come to the theater to see him destroyed ...
... figure who in some sense defies the gods , becomes vulnerable to them . But if , because of his power and daring , he is always in some way attractive to us , it is also true that we always come to the theater to see him destroyed ...
Стр. 40
... figure and a principal character , leading to an assimilation by the hero of some of the haunting figure's characteristics . Indeed , the hero begins to haunt as he has been haunted . Between Othello and Iago we have a scene that looks ...
... figure and a principal character , leading to an assimilation by the hero of some of the haunting figure's characteristics . Indeed , the hero begins to haunt as he has been haunted . Between Othello and Iago we have a scene that looks ...
Стр. 105
... figure of the actor in his commune or simply alone on the stage with us and his fellow actors - bending his narcissistic isolation and loneliness to the discipline of the excited , comforting , yet equally isolated group whose commun ...
... figure of the actor in his commune or simply alone on the stage with us and his fellow actors - bending his narcissistic isolation and loneliness to the discipline of the excited , comforting , yet equally isolated group whose commun ...
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