Drama, Metadrama and PerceptionAssociated University Presse, 1986 - 189 Seiten |
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Seite 13
... actors ' performances , in relation to one of these two poles . The underlying doctrine is thus not limited to realism as a genre , but is a device for categorizing everything in theatre . Whether one likes realism or not , the defining ...
... actors ' performances , in relation to one of these two poles . The underlying doctrine is thus not limited to realism as a genre , but is a device for categorizing everything in theatre . Whether one likes realism or not , the defining ...
Seite 14
... acting " in person " is to acting " in style , " as being " close to " life is to being " far from " life , as Stanislavski is to Brecht , as Ibsen is to Maeterlinck , as Marlon Brando is to Laurence Olivier . These paralleled ...
... acting " in person " is to acting " in style , " as being " close to " life is to being " far from " life , as Stanislavski is to Brecht , as Ibsen is to Maeterlinck , as Marlon Brando is to Laurence Olivier . These paralleled ...
Seite 15
... actors of Shake- speare , for example , have great difficulty with his plays because of being straitjacketed by realistic doctrine , which does not actually fit Shakespeare at all well . At times , his plays seem as realistic as those ...
... actors of Shake- speare , for example , have great difficulty with his plays because of being straitjacketed by realistic doctrine , which does not actually fit Shakespeare at all well . At times , his plays seem as realistic as those ...
Seite 16
... actors today , since we can no longer experience the kinds of acting that Stanislavski and Brecht were setting their concepts against . Similar confusion has resulted when modern theatre practitioners have looked at other cultures or ...
... actors today , since we can no longer experience the kinds of acting that Stanislavski and Brecht were setting their concepts against . Similar confusion has resulted when modern theatre practitioners have looked at other cultures or ...
Seite 17
... actors , because excessively realistic training has rendered them timid , confined , and querulous ) ; it makes drama into some- thing far too passive . We should not view drama as reflecting life , but rather as operating on it ...
... actors , because excessively realistic training has rendered them timid , confined , and querulous ) ; it makes drama into some- thing far too passive . We should not view drama as reflecting life , but rather as operating on it ...
Inhalt
13 | |
29 | |
31 | |
The Ceremony within the Play | 49 |
Role Playing within the Role | 67 |
Literary and RealLife Reference within the Play | 88 |
SelfReference | 103 |
Drama and Perception | 119 |
Shakespeare As You Like It | 133 |
Buchner Woyzeck | 148 |
Strindberg The Father | 158 |
Ibsen The Master Builder | 164 |
Pinter Betrayal | 171 |
Afterword | 179 |
Works Cited | 181 |
Index | 185 |
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acting actor actually archetype Aristophanes artistic August Strindberg avant-garde background become Bertolt Brecht Brecht Büchner Captain century ceremony characters comedies contrast critics culture defined depicted device drama/culture complex dramatic illusion dream Duke estrangement Euripides example fact father feel Forest of Arden framed Freud Greek Hamlet human Ibsen identity inner play inset type intuitive Jaques Laius Laura literary reference literature live Macbeth main play means metadramatic Molière murder nature neurotic never Oedipus the King offstage Orlando Othello outer play parody perception performance person Pinter play's playwright plot primary process process thinking process thought production provides R. D. Laing real-life reference realistic reality recognize Richard Richard II ritual role playing Rosalind scene script seems self-reference sense sexual Shakespeare Similarly society Solness Solness's Sophocles speech stage Strindberg Teiresias theatre theatrical theory things Touchstone traditional tragedy turn unconscious unconscious mind Woyzeck York