Acting with Style, 10. kötetPrentice-Hall, 1982 - 292 oldal From preface: This book is aimed at helping the actor discover what kind of play he is in--to identify the stylistic clues--and then come to a physical awareness of how it should be played. |
Részletek a könyvből
1 - 3 találat összesen 36 találatból.
220. oldal
... Epic versus Dramatic . The achievement of alienation underlies Brecht's whole theory of epic theatre . Brecht set out the theory , com- paring it with dramatic theatre , in a note to his Mahagonny . It will be useful to quote it in full ...
... Epic versus Dramatic . The achievement of alienation underlies Brecht's whole theory of epic theatre . Brecht set out the theory , com- paring it with dramatic theatre , in a note to his Mahagonny . It will be useful to quote it in full ...
237. oldal
... epic acting is that its prime function is not the engendering of emotion - either in the actor or in the audience . The purpose of epic acting is to entertain and arouse the critical con- sciousness of the audience , not to create an ...
... epic acting is that its prime function is not the engendering of emotion - either in the actor or in the audience . The purpose of epic acting is to entertain and arouse the critical con- sciousness of the audience , not to create an ...
238. oldal
... Epic Acting . Brecht , then , was concerned with demonstration rather than empathy , with criticism rather than catharsis . The actor displays his character , quotes his lines , demonstrates the incidents . In dialectical terms the ...
... Epic Acting . Brecht , then , was concerned with demonstration rather than empathy , with criticism rather than catharsis . The actor displays his character , quotes his lines , demonstrates the incidents . In dialectical terms the ...
Tartalomjegyzék
PLAYING TRAGEDY | 9 |
SHAKESPEARE | 48 |
PLAYING COMEDY | 99 |
Copyright | |
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Gyakori szavak és kifejezések
absurd theatre achieve acter acting action activity actor American Conservatory Theatre Artaud Artaudian theatre attitude audi audience aware Bald Soprano basic Beckett become Bertolt Brecht body Brecht century char character mask character's chorus circle clothing Coach the players comedy of manners comic commedia confrontation costume create dance demands dialectical Dionysus discover drama dynamic Elizabethan emotional ence energy epic epic theatre essential event exercise explore farce feeling focus function gesture give Greek tragedy Harpagon hieroglyph human humor images impulse intensity Ionesco language man's Marxism meaning ment Molière moral move movement nature performance physical play playwright poetic political realistic reality response reveal rhythmical rhythms ritual Royal Shakespeare Company scene sense sensibility sexual Shakespeare's simple situation slapstick social mask society space speech spine spirit stage strong structure style suggested tends theatrical tion truth verbal verse Waiting for Godot words