Presence in Play: A Critique of Theories of Presence in the Theatre

الغلاف الأمامي
Rodopi, 2008 - 228 من الصفحات
0 مراجعات
لا تتحقّق Google من المراجعات، ولكنها تتحقّق من المحتوى المزيّف وتزيله في حال رصده.
Presence in Play: A Critique of Theories of Presence in the Theatre is the first comprehensive survey and analysis of theatrical presence to be published. Theatre as an art form has often been associated with notions of presence. The 'live' immediacy of the actor, the unmediated unfolding of dramatic action and the 'energy' generated through an actor-audience relationship are among the ideas frequently used to explain theatrical experience – and all are underpinned by some understanding of 'presence.' Precisely what is meant by presence in the theatre is part of what Presence in Play sets out to explain. While this work is rooted in twentieth century theatre and performance since modernism, the author draws on a range of historical and theoretical material. Encompassing ideas from semiotics and phenomenology, Presence in Play puts forward a framework for thinking about presence in theatre, enriched by poststructuralist theory, forcefully arguing in favour of 'presence' as a key concept for theatre studies today.

من داخل الكتاب

ما يقوله الناس - كتابة مراجعة

لم نعثر على أي مراجعات في الأماكن المعتادة.

الصفحات المحددة

المحتوى

Introduction
1
The Fictional Mode of Presence
15
The Auratic Mode of Presence
47
The Literal Mode of Presence
87
Chapter 4 Deconstructing Presence
117
Chapter 5 The Presence of Liveness
147
Chapter 6 Signifying Presence
175
Conclusion The Magic of Theatre
201
Bibliography
209
Index
223
حقوق النشر

طبعات أخرى - عرض جميع المقتطفات

عبارات ومصطلحات مألوفة

مقاطع مشهورة

الصفحة 91 - In short, the practically cognized present is no knife-edge, but a saddle-back, with a certain breadth of its own on which we sit perched, and from which we look in two directions into time.
الصفحة 25 - On this unworthy scaffold to bring forth So great an object: can this cockpit hold The vasty fields of France ? or may we cram Within this wooden O the very casques That did affright the air at Agincourt...
الصفحة 26 - Piece out our imperfections with your thoughts: Into a thousand parts divide one man, And make imaginary puissance; Think when we talk of horses that you see them Printing their proud hoofs i...
الصفحة 119 - It is not a simple analogy: writing, the letter, the sensible inscription, has always been considered by Western tradition as the body and matter external to the spirit, to breath, to speech, and to the logos.
الصفحة 150 - Simulation is no longer that of a territory, a referential being or a substance. It is the generation by models of a real without origin or reality: a hyperreal.
الصفحة 126 - The dramatic theatre's spectator says: Yes, I have felt like that too —Just like me— It's only natural— It'll never change— The sufferings of this man appall me, because they are inescapable— That's great art; it all seems the most obvious thing in the world— I weep when they weep, I laugh when they laugh.
الصفحة 122 - The stage is theological for as long as it is dominated by speech, by a will to speech, by the layout of a primary logos which does not belong to the theatrical site and governs it from a distance.
الصفحة 41 - Our claim, our hope, our despair are in the mind — not in things, not in "scenery." Moliere said that for the theatre all he needed was a platform and a passion or two. The climax of this play needs only five square feet of boarding and the passion to know what life means to us.

نبذة عن المؤلف (2008)

Cormac Power completed his first degree at University of Wales, Aberystwyth, and gained a doctorate in Theatre Studies from the University of Glasgow in 2006. He is currently a lecturer in Performing Arts at the University of Northumbria, Newcastle upon Tyne, in the United Kingdom.

معلومات المراجع