By Susanne Valerie (auth.)
Actors and the artwork of functionality: lower than Exposure combines the author’s major biographical paths: her expert dedication to the fi elds of either theater and philosophy. The paintings of performing on level is analyzed the following not just from the theoretical standpoint of a spectator but in addition from the viewpoint of the actor. the writer attracts on her event as either a theater actor and a college professor whose teachings within the paintings of appearing count seriously on her personal adventure and in addition on her philosophical wisdom. The booklet is exclusive not just when it comes to its content material but additionally when it comes to its sort. Written in a multiplicity of voices, the textual content oscillates among philosophical reasoning and narrative sorts of writing, together with micronarratives, fables, parables, and inter alia through Carroll, Hoff mann, and Kleist. as a result the e-book claims transdisciplinary discussion among the artwork of performing and the paintings of philosophical pondering demands a classy examine that questions and starts to hunt choices to frequently verified and ingrained codecs of philosophy.
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Additional info for Actors and the Art of Performance: Under Exposure
Laughs) Bullshit! So, is the actor a fabled creature of truth? No, not an animal in a fable (even if Aesop’s fox and his friends are not the worst of roles), but himself fabulous because of his profession. What do we associate with the word “fable,” without losing sight of the actor? The spontaneous answers: Stories, make-believe, tall tales, fake histories, fabrication, narration. All fits. ” Spectacular, legendary, fantastical, strike a pose. All good fits. And then there is fabulation. Fits.
Actors and the Art of Performance received from the concentrated silence of the audience signaled anything but failure. Too bad. It would have been so easy to say a young drama student broke down in tears because her performance was completely amiss. That would have made logical sense. The actor stood up to the pressure for a long time, but now she has given in. She was crying because she was ashamed, because she felt like it was her fault. Ashamed ad personam, faulty ad personam. No matter how hard she tried, she played leadenly, again and again; she couldn’t manage to meet the theatrical expectations.
H O U S E. Good, again. HOUSE. Very good, now I can doooo it!! Househousehousehousehouse. A tower of syllables. Househousehousehousehouse? Crazy word monster, it sounds so funny. househousehousehousehouse. House? What is a house? The meaning of the letters gets lost in their repetition. A house is a house is a house is a house! And a rose is a rose is a rose is a rose, says Gertrud Stein, the early messenger of enigmatic texts, spiral sentences that turn and turn until they come to a kind of linguistic standstill.