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. 27
... ghosts . The ghost gives this externality a shape something like man's own , which far from domesticating the threat , serves merely to evoke its menace . Primitive religion , like mod- ern psychology , recognizes that the threatening ...
... ghosts . The ghost gives this externality a shape something like man's own , which far from domesticating the threat , serves merely to evoke its menace . Primitive religion , like mod- ern psychology , recognizes that the threatening ...
Стр. 28
... ghosts might in itself make a good theory of drama , and the historical version of this theory might note that at about the time when audiences cease to believe in ghosts they begin to be haunted by memories . People have always had ...
... ghosts might in itself make a good theory of drama , and the historical version of this theory might note that at about the time when audiences cease to believe in ghosts they begin to be haunted by memories . People have always had ...
Стр. 155
... ghosts make play - actors of us all , but they also attract us to actors and the theater . We turn to drama as the Tangkul and Orokolo did , to drive our ghosts away . Even the blandest commercial play does this , though in the most ...
... ghosts make play - actors of us all , but they also attract us to actors and the theater . We turn to drama as the Tangkul and Orokolo did , to drive our ghosts away . Even the blandest commercial play does this , though in the most ...
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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