By Susanne Valerie (auth.)
Actors and the paintings of functionality: less than Exposure combines the author’s major biographical paths: her specialist 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 point of view of a spectator but additionally from the point of view of the actor. the writer attracts on her adventure as either a theater actor and a school professor whose teachings within the artwork of appearing depend seriously on her personal adventure and in addition on her philosophical wisdom. The publication 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 types of writing, together with micronarratives, fables, parables, and inter alia by way of Carroll, Hoff mann, and Kleist. for that reason the booklet claims transdisciplinary discussion among the paintings of appearing and the artwork of philosophical considering demands a cultured examine that questions and starts off to hunt possible choices to often tested and ingrained codecs of philosophy.
This booklet is open entry lower than a CC via license.
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Additional resources for Actors and the Art of Performance: Under Exposure
Prayer for the Incurable,” in Friedrich Hölderlin, Poems and Fragments, trans. Michael Hamburger (London: Anvil Press Poetry, 2001), 59. 0007 Actors and the Art of Performance phantom of my self. Am I my own undoing? What’s come over me? The ego dissolved in an unending echo that takes meaning away from the familiar word. Close up. Silly game! All joy destroyed, every plus turned into a minus. Put through the wringer until there’s nothing left, nothing, nothing at all. I disappear into nothing, black magic, correspondence with un-time.
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. She just was not good enough, or not good enough yet.
To achieve all this and more is, surprisingly, much more difficult than it sounds in theoretical musings. It is a drawn-out, denuding process. European history of the analysis of the subject has favored analytical thinking over ecstatic corporeality. This is demonstrated on every stage and at every public appearance.