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. 123
... identity . For a member of the audience , to become " identified " in the theater is at once to feel a magical sharpness of self - definition and to leap outside the area of threat , the arena of chaotic vulnerability in which our self ...
... identity . For a member of the audience , to become " identified " in the theater is at once to feel a magical sharpness of self - definition and to leap outside the area of threat , the arena of chaotic vulnerability in which our self ...
Стр. 129
... identity , the dance and game of masks , are staples of comic design . At the same time , great comedy has always seemed inclined to talk ( if only parenthetically ) about the deeper meaning of what it is playing with , to touch on ...
... identity , the dance and game of masks , are staples of comic design . At the same time , great comedy has always seemed inclined to talk ( if only parenthetically ) about the deeper meaning of what it is playing with , to touch on ...
Стр. 130
... identity and with the chaos of confused self - images that seems always to threaten the self . His earliest comedy , The Comedy of Errors , is a farce about mistaken identity , and there Shakespeare improves on the plot that he borrows ...
... identity and with the chaos of confused self - images that seems always to threaten the self . His earliest comedy , The Comedy of Errors , is a farce about mistaken identity , and there Shakespeare improves on the plot that he borrows ...
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