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. 41
... role in most of the little dramas presented . Though his place in the plot and his specific role vary greatly from play to play , his manner is always the same . It is something like that of the all - licensed clown , but without any ...
... role in most of the little dramas presented . Though his place in the plot and his specific role vary greatly from play to play , his manner is always the same . It is something like that of the all - licensed clown , but without any ...
Стр. 44
... role of theatrical modes in mastering our lives ; the antic disposi- tion is used with what seems a full intuition of its connection to our apprehensions of death . * We have gotten to know the Vice largely as a matter of historical ...
... role of theatrical modes in mastering our lives ; the antic disposi- tion is used with what seems a full intuition of its connection to our apprehensions of death . * We have gotten to know the Vice largely as a matter of historical ...
Стр. 49
... role . One reason for this has already been discussed the role is a disguise for the actor . But more compellingly , every role pos- sesses , to a greater or lesser extent , a rigid , inanimate , mask - like quality . It has been ...
... role . One reason for this has already been discussed the role is a disguise for the actor . But more compellingly , every role pos- sesses , to a greater or lesser extent , a rigid , inanimate , mask - like quality . It has been ...
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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