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. |
Результаты поиска по книге
Результаты 1 – 3 из 22
Стр. 49
... natural cause . In the case of the eleven - month - old , the psychic devel- opment required by Freud's theory would presumably not yet have taken place , but René Spitz has argued persua- sively that an inner psychic aggression is ...
... natural cause . In the case of the eleven - month - old , the psychic devel- opment required by Freud's theory would presumably not yet have taken place , but René Spitz has argued persua- sively that an inner psychic aggression is ...
Стр. 64
... natural strangeness , his threat of attacking us from the ambush of a role . For a dramatic hero , to stand outside the world is to see the world as theater ( " Those people are following a script " ) and thus to gain freedom , a power ...
... natural strangeness , his threat of attacking us from the ambush of a role . For a dramatic hero , to stand outside the world is to see the world as theater ( " Those people are following a script " ) and thus to gain freedom , a power ...
Стр. 160
... natural extension and accompaniment of the special definition that the self exhibits and acquires there . We identify with actors because the self longs for clarification , because it longs to possess the present , and possess itself in ...
... natural extension and accompaniment of the special definition that the self exhibits and acquires there . We identify with actors because the self longs for clarification , because it longs to possess the present , and possess itself in ...
Другие издания - Просмотреть все
Часто встречающиеся слова и выражения
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