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. 30
... stage . When Clifton Davis steps out from behind his desk to sing " Love's Revenge " in Two Gentlemen of Verona at the St. James , we don't look through his song to an event in the script or to Shakespeare's London . ( By the time this ...
... stage . When Clifton Davis steps out from behind his desk to sing " Love's Revenge " in Two Gentlemen of Verona at the St. James , we don't look through his song to an event in the script or to Shakespeare's London . ( By the time this ...
Стр. 36
... stage furniture from the spectators ' view . This attempt at secrecy is rather noteworthy . Women spectators , for instance , may seize their mats and rush forward to help in concealing the stage properties as they are brought on ...
... stage furniture from the spectators ' view . This attempt at secrecy is rather noteworthy . Women spectators , for instance , may seize their mats and rush forward to help in concealing the stage properties as they are brought on ...
Стр. 179
... Stage , 172 " Shakespeare's Celibate Stage , " 172 Shakespeare's Festive Comedy , 168 Shamanism , 8 , 11 , 37-40 , 73 , 90 , 164 Shamanism : Archaic Techniques of Ecstasy , 164 Shaw , Bernard , 63–64 , 66–67 , 107 , 168-69 Shoemaker's ...
... Stage , 172 " Shakespeare's Celibate Stage , " 172 Shakespeare's Festive Comedy , 168 Shamanism , 8 , 11 , 37-40 , 73 , 90 , 164 Shamanism : Archaic Techniques of Ecstasy , 164 Shaw , Bernard , 63–64 , 66–67 , 107 , 168-69 Shoemaker's ...
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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