Future theatre research : origin, medium, performance-text, reception and acting / Eli Rozik.
Eli Rozik explores the principles that generated the theatre medium, and its possible roots in the preverbal imagistic mode of thinking. This mode characterises the remnants of preverbal thinking, such as unconscious thinking (dreaming), the embryonic speech of toddlers, and their imaginative play a...
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| Format: | Electronic eBook |
| Language: | English |
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Brighton ; Chicago :
Sussex Academic Press,
[2016]
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| Local Note: | ProQuest Ebook Central |
Table of Contents:
- Front Cover; Dedication; Title Page; Copyright; Contents; Preface and Acknowledgements; Introduction: Theatre Medium; 1 Basic Iconic Units; Imagistic definition of 'iconicity'; Basic iconic units; Real objects on stage; Part I Iconic Figures of Speech; 2 Stage Metaphor; Verbal Metaphor; Iconic metaphor; Imagistic metaphor; Stage symbol; 3 Theatre Experience as Metaphor; Stage metaphor; Metaphoric fictional world; Paradox of double reference; Mechanism of textual metaphor; Sophocles' Oedipus the King; García Lorca's Yerma; 4 Stage Allegory; Metaphoric stage allegory.
- Interpreting stage allegoryMixing praxical and allegoric features; Mixed metaphor in allegoric texts; 5 Speech-Act Stage Metaphor; Ionesco's Exit the King; Speech-act metaphor on stage; The predicate 'is a metaphor'; Stylistic implications; 6 Set and Costume Metaphor; Metaphoric experience; Set and costume metaphor; Five basic models; Set and costume mixed metaphor; Part II Stage Conventionality; 7 Stage Conventions; Notion of 'stage convention'; Kinds of stage conventions; Functions of stage conventions; Ironic conventions; Aesthetic conventions; Theatre norms.
- 8 The Chorus: Matrix of Stage ConventionsDramatic chorus; Dithyrambic storytelling; Bacchylides' Theseus Dive; Nature of dithyramb; 9 Lady Macbeth: In the Making of a Tragic Hero; Confidant convention; Lady Macbeth as confidant; Confidential motifs; Lady Macbeth's transfiguration; Poetic implications; 10 Functions of Language in Theatre; Ingarden's approach; Ingarden's functions of language; Language mediation; Speech interaction; Speech act theory; Iconic interaction; Stage Conventions; Part III Fictional Thinking; 11 Nature of Fictional Thinking; Fictional world.
- Structure and thematic specificationArchetypal patterns of response; Stratified structure of fictional world; Structure of character; Possible fallacies; 12 Sacred Narratives for Secular Spectators; Basic features of 'myth'; Functional approaches; Mythical mappings; Universality of mythical mappings; Binding of Isaac; Passion of the Christ; 13 Theatre Ethics; Hegel's 'ethical substance'; Aristotle's 'philanthropon'; Kant's 'categorical imperative'; Dramatic irony; Synthesis of Hegel and Aristotle; Sophocles' Antigone; 14 Theatre Aesthetics; Aesthetic experience; Kinds of aesthetic experience.
- Functions of aesthetic experienceRange of aesthetic experiences; Objective/subjective dispute; Objective and subjective principles; On a possible aesthetics of theatre; 15 Theatre Rhetoric; Author-audience interaction; Structural equivalence; Rhetoric interaction; Rhetoric pre-structuration; Yerushalmi's Woyzeck 91; Part IV Reception; 16 Implied Spectator; Implied vs. real spectator; Implied spectator and rhetoric structure; Espert's The House of Bernarda Alba; Thinking experimentation; 17 Theatre as Thinking Laboratory; Scientific mode of thinking; Theatrical thinking
- A comparison.