By Susanne Valerie (auth.)
Actors and the artwork 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 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 performing count seriously on her personal event and likewise on her philosophical wisdom. The publication is exclusive not just when it comes to its content material but additionally by way of its variety. Written in a multiplicity of voices, the textual content oscillates among philosophical reasoning and narrative different types of writing, together with micronarratives, fables, parables, and inter alia through Carroll, Hoff mann, and Kleist. therefore the publication claims transdisciplinary discussion among the artwork of appearing and the artwork of philosophical pondering demands a classy research that questions and starts to hunt possible choices to usually tested and ingrained codecs of philosophy.
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Extra resources for Actors and the Art of Performance: Under Exposure
8 Then he would be OK. ”9 Is the actor not haunted by multiple persons who speak through him and monkey about in the shadows? Among these persons are many whose visors are down. Is the actor then many? Considering all this, who would not fall flat on his face, fall over backwards, fall headlong into disaster like the poor hare? Who is not lost in a labyrinth, in a runaround, because the concepts of the enlightened consciousness, of critical reflection and logical analysis, suddenly no longer help us to take control of the situation?
Quick, run! Out of here. Enough, finito. Curtain! These are other times. Disgusting, how could I get so close to myself?! This tangled relationship to truth. This tangled relationship to the truth of play on stage. “Once [ ... ] I was a real turtle,”27 the mock turtle says with tears in his eyes when Alice asks about his history. 23 Carroll, 4. , 28. 25 Judith Butler, Bodies That Matter (Abingdon: Routledge, 1993); Arno Böhler, Singularitäten. Von der erotischen Durchdringung der Leere (Vienna: Passagen Verlag, 2005).
Its familiar comfort is an empty promise. A mean trick? A trap? When a shapeless hybrid monster with a human head suddenly jumps out of the shadow, the child’s imagination is no longer able to distinguish between real and fictive events. Blackout. When the child’s eyes open again, instead of the human-headed beast, a monk in a grey cloak is standing there. A holy man of the cloth. A guarantor of good, who should bestow confidence. But the fear remains. It lingers. Has it been provoked by the knowledge that evil resides within the cloak in a terrible turn-around of holiness?