By Susanne Valerie (auth.)
Actors and the artwork of functionality: lower 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 college professor whose teachings within the artwork of performing depend seriously on her personal event and in addition on her philosophical wisdom. The publication is exclusive not just by way of its content material but in addition by way of its type. Written in a multiplicity of voices, the textual content oscillates among philosophical reasoning and narrative varieties of writing, together with micronarratives, fables, parables, and inter alia by means of Carroll, Hoff mann, and Kleist. therefore the e-book claims transdisciplinary discussion among the paintings of performing and the paintings of philosophical considering demands a cultured learn that questions and starts to hunt choices to characteristically validated and ingrained codecs of philosophy.
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Extra resources for Actors and the Art of Performance: Under Exposure
In one a human being breathes his last breath, while in the other the mechanics of an automaton are broken. Machine against man In the natural sciences, in the arts, and in daily life, humans have long become disembodied via technology, media, and virtual reality. Whether positive or negative, questions arise. Polemical responses proliferate. Trade actors for avatars? Trade poor theater for big budget productions? Trade theater machines for empty space? Administrative bureaucracy has become anonymized, leading to Kafkaesque loops at every telephone call.
Suffer the self-destruction of your own will. Your ego no longer the last bastion of certainty, but powerless and vulnerable. An open wound that hurts. A lacuna. A tear in the web of the consciousness that has reigned until this moment. 13 “We must begin [with] the exscription of our body [ ... ]” Nancy, Corpus, 11. 0007 Speculations “Who’s to say that the passion for the literal can be controlled? ”14 Was it this imposition of felicitous acting that made the actor break into tears and stop, that provoked a stubborn “no” to her former desire to become an actor?
Only a few more tolls of the bell – one, two – The play is staged as a series of short chronological scenes telling the tale of Johannes Faustus: how he studied theology, then medicine and astrology; how he received his master’s degree and his doctorate; and how his lust for life and his insatiable thirst for knowledge slowly and inexorably led him to become a conjuror and necromancer. ”* The magic works, and the devil actually appears. At his second appearance in Faustus’s study, he agrees to serve Faustus and fulfill his worldly desires, under one condition: the wise and honorable Herr Doctor must give him his body and soul after a term of twenty-four years.
Actors and the Art of Performance: Under Exposure by Susanne Valerie (auth.)