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. 60
... to the past , laying bare her future . In her great dialogue with Hippolyte , the sense of ferocious movement rises from the fact that all her unconscious sexual moves become gallingly con- scious to her 60 THE ACTOR'S FREEDOM.
... to the past , laying bare her future . In her great dialogue with Hippolyte , the sense of ferocious movement rises from the fact that all her unconscious sexual moves become gallingly con- scious to her 60 THE ACTOR'S FREEDOM.
Стр. 90
... movement ( and of the whole sequence of movements of which the jerk backwards is a part ) something elegant , vital , madly rhythmic , something funny . It is the irrepressible Tati . We pay to see Tati catch his umbrella in the grating ...
... movement ( and of the whole sequence of movements of which the jerk backwards is a part ) something elegant , vital , madly rhythmic , something funny . It is the irrepressible Tati . We pay to see Tati catch his umbrella in the grating ...
Стр. 105
... movement , bird expression , bird life . And the proc- ess , as Brook tactfully makes us aware when he com- ments on our own efforts , is a spiritual discipline , involv- ing simplification , concentration , purification - a labor that ...
... movement , bird expression , bird life . And the proc- ess , as Brook tactfully makes us aware when he com- ments on our own efforts , is a spiritual discipline , involv- ing simplification , concentration , purification - a labor that ...
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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