Presence in Play: A Critique of Theories of Presence in the TheatreRodopi, 2008 - 228 من الصفحات 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. |
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الصفحة 7
... actual”. Theorist Jon Erickson seems to have a point therefore when he asks: “what happens to the specific pleasure that theatre affords if presence is to be evaded, eliminated, or deconstructed... [?]” (Erickson 1995: 216). If the ...
... actual”. Theorist Jon Erickson seems to have a point therefore when he asks: “what happens to the specific pleasure that theatre affords if presence is to be evaded, eliminated, or deconstructed... [?]” (Erickson 1995: 216). If the ...
الصفحة 9
... actual and fictional. I argue that it is the very potential of theatre to put presence into play that enables us to consider the importance of theatre as an art form that can allow us to reflect upon and question the construction of ...
... actual and fictional. I argue that it is the very potential of theatre to put presence into play that enables us to consider the importance of theatre as an art form that can allow us to reflect upon and question the construction of ...
الصفحة 14
... actual”, and semiotic analysis, with its emphasis on the “textual”. When applied to theatre, both modes of analysis, I suggest, converge around the notion of presence, and their inter-relation can suggest a framework for thinking about ...
... actual”, and semiotic analysis, with its emphasis on the “textual”. When applied to theatre, both modes of analysis, I suggest, converge around the notion of presence, and their inter-relation can suggest a framework for thinking about ...
الصفحة 19
... actual” construction of the drama: The states of affairs stipulated by state descriptions or, equally in novels are at an evident remove from the stipulator's or reader's immediate context, so much so that classical narrative is always ...
... actual” construction of the drama: The states of affairs stipulated by state descriptions or, equally in novels are at an evident remove from the stipulator's or reader's immediate context, so much so that classical narrative is always ...
الصفحة 74
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المحتوى
1 | |
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 |
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عبارات ومصطلحات مألوفة
action actor actual aesthetic appear argue art form Artaud artistic attempts attention audience aura auratic Auslander authority become body chapter characters claim complex conception concerned consciousness constructed context contingent create critical critique Derrida describes direct discussion distinction drama emphasise ence event example exist experience explains explore fictional film Fried Fuchs fully Grotowski idea illusion imagination immediate important interaction kind literal live look magic material means mediatized medium merely mode modernist move naturalism never notion notion of presence objects onstage Open painting particular perception performance perhaps perspective phenomenology physical play possible potential pres presence in theatre production question reality recorded reference relation relationship represent representation scene screen seems seen sense simply space specific spectator speech stage suggest takes theatre’s theatrical performance theatrical presence theory things thinking thought tion traditional understanding writing
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.