By Susanne Valerie (auth.)
Actors and the paintings of functionality: lower than Exposure combines the author’s major biographical paths: her expert 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 point of view of a spectator but in addition from the point of view of the actor. the writer attracts on her event as either a theater actor and a school professor whose teachings within the artwork of performing count seriously on her personal event and likewise on her philosophical wisdom. The booklet is exclusive not just by way of its content material but in addition when it comes to 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 via Carroll, Hoff mann, and Kleist. consequently the e-book claims transdisciplinary discussion among the paintings of performing and the paintings of philosophical pondering demands a classy examine that questions and starts to hunt possible choices to usually verified and ingrained codecs of philosophy.
This booklet is open entry less than a CC by way of license.
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Additional info for Actors and the Art of Performance: Under Exposure
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.
Merde! Then the ego can do whatever it wants with itself. Create itself, destroy itself, be rid of itself. At any rate, it should take advantage of the situation because it has been offered a new career of unfettered freedom. No more constraints. No corset. No disciplinary action. No domestication. The belts and braces of all imaginary “upright holders”12 have been cast aside. There is no one sitting in the control tower anymore. The windows and doors are open to the winds. The guy with the long white beard is long gone.
A feminine ideal. How many Nathaniels have already lain blindly at her feet? Virtually, of course, not in real life. In real life they would lie shattered on the pavement in a pool of blood, painfully distorted, a dead lump of flesh, perhaps with a broken skull, their brains running out. Not a pretty sight. Not at all. Reality has not been faked. A real hit. A painful hit. A deadly hit. Ah – Ah – Ah! As it is, our modern Nathaniels are safe in the virtual world, with no risk of a meeting in real life and its uncontrollable consequences.