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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achievement acting action actor actor and audience actor-as-character actor's art aggression appearance appetite Aristotle audience's awareness become body Brecht Brechtian character Chekhov Cleopatra comedy comic course dangerous dead death define describe dialogue Dionysus disguise drama dramatic hero dumbshow effect ego-universe Elizabethan emotions energy Euripides example exciting experience expression Falstaff fear feel freedom Garrick gesture ghosts Greek hamartia Hamlet haunting histrionic human Ibsen's identification identity imagine imitation impersonation impulse Jacques Roux Jean-Louis Barrault kind maenadism Marat/Sade mask means mimesis mind notion Oedipus on-stage ordinary Orokolo Othello Pentheus performance perhaps Piaget play play-acting play's playwright plot present primitive protection Quem Quaeritis realism reality relation René Spitz response revenge risk ritual role sacred scene Schechner script seems self-definition Senecan sense Shakespeare shaman simply speech spirits stage suggest symbols Tamburlaine terrific theater theatrical theory things threatening thrust tion tragedy transvestism uncanny victim word