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
... person hits us we can either hit him back or refuse to . Either reaction may make for drama , but the exchange can easily be enclosed , a balance quickly restored . We can't hit back at a ghost , however , any more than we can ignore ...
... person hits us we can either hit him back or refuse to . Either reaction may make for drama , but the exchange can easily be enclosed , a balance quickly restored . We can't hit back at a ghost , however , any more than we can ignore ...
Стр. 56
... person , its powers of binding the community in the evocation and transformation of com- munal desires and fears . At the same time , any major role explores the relation of theatrical enterprise to the rest of life . It builds on - and ...
... person , its powers of binding the community in the evocation and transformation of com- munal desires and fears . At the same time , any major role explores the relation of theatrical enterprise to the rest of life . It builds on - and ...
Стр. 66
... person who plays the part . The more they identify the more alienated they become . 1 Brecht's skill is such - and his account of it at once so helpful and so misleading — that no one seems to have noticed the immense difficulty he ...
... person who plays the part . The more they identify the more alienated they become . 1 Brecht's skill is such - and his account of it at once so helpful and so misleading — that no one seems to have noticed the immense difficulty he ...
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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