By Susanne Valerie (auth.)
Actors and the paintings of functionality: below 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 right here not just from the theoretical standpoint of a spectator but in addition from the viewpoint of the actor. the writer attracts on her adventure as either a theater actor and a school professor whose teachings within the artwork of performing count seriously on her personal adventure and in addition on her philosophical wisdom. The publication is exclusive not just by way of its content material but additionally by way of its type. Written in a multiplicity of voices, the textual content oscillates among philosophical reasoning and narrative kinds of writing, together with micronarratives, fables, parables, and inter alia by means of Carroll, Hoff mann, and Kleist. for this reason the booklet claims transdisciplinary discussion among the paintings of appearing and the paintings of philosophical considering demands a cultured examine that questions and starts to hunt choices to normally validated and ingrained codecs of philosophy.
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Additional info for Actors and the Art of Performance: Under Exposure
0011 Actors and the Art of Performance unlike Nathaniel, at the end they turn it off with a click of the mouse, the software shuts down, the screen fades, and the machine powers down. They do not fall to a painful death. They are still alive and kicking. There is no pool of blood under them, at most a wet stain from Coke or beer or something else ... The actor’s trump card The physical body of the actor is the central cipher of the theater – his singular bodily presence of flesh and blood, the exposed vulnerability of a being that has a name and only one life.
Courtesy of Heidelberg University Library, M 344-5-6 RES. 2 While the image of Diovis (Jupiter) stood for good luck. Giordano Bruno, De monade numero et figura liber consequens de minimo magno et mensura: fol. 92. Courtesy of Heidelberg University Library, M 344-5-6 RES. 0007 Actors and the Art of Performance Child’s play The first letters. A, B, C. Thin lines, straight and curved, become letters in a fixed order. ABCDEFGHIJKLMNOPQRSTUVWXYZ. Twentysix, no more. From these 2 x 13 letters words grow, first sentences.
What happened in auditorium X? What exactly did we observe? Just when it had basically been decided that the play should be stopped, when everyone had secretly given up on any more attempts, there was a startling turn of events. , “kidnapped” her as it were (why not, kidnapped fits well), and all that had been a cramped struggle, the effort of her attempts, disappeared – and the play, thus freed, suddenly became ecstatic. Failure turned into its opposite. One could also say the moment of resignation4 was identical with the moment in which the will stopped trying to rule over the play, or vice versa, the moment of resignation coincided with the moment in which control over the play was taken away from the will.