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. 4
... imitation , " " identification , " " characterization " —but that are in fact thoroughly infused with misleading associations drawn from the experience of literature . For example , following Aristotle , we describe what an actor does ...
... imitation , " " identification , " " characterization " —but that are in fact thoroughly infused with misleading associations drawn from the experience of literature . For example , following Aristotle , we describe what an actor does ...
Стр. 5
... imitation , which we tend to think of as a kind of representation . That is , when we use the word " imitation , " we habitually speak as if the actor were a man bringing to our minds some object external to him ( a “ character " ) by ...
... imitation , which we tend to think of as a kind of representation . That is , when we use the word " imitation , " we habitually speak as if the actor were a man bringing to our minds some object external to him ( a “ character " ) by ...
Стр. 8
... imitation is that we are drawn to imitate objects toward whom intensely ambivalent emotions obtain . In their extensive survey of children's games , Iona and Peter Opie note that the most popular acting games center on frightening ...
... imitation is that we are drawn to imitate objects toward whom intensely ambivalent emotions obtain . In their extensive survey of children's games , Iona and Peter Opie note that the most popular acting games center on frightening ...
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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