Theater of the OppressedUrizen Books, 1979 - 197 |
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Strona 26
... Aristotelian . The essence of Aristotelian thought cannot reside in structural aspects such as these . To emphasize these minor aspects is , in effect , to compare the Greek philosopher to the modern and abundant pro- fessors of ...
... Aristotelian . The essence of Aristotelian thought cannot reside in structural aspects such as these . To emphasize these minor aspects is , in effect , to compare the Greek philosopher to the modern and abundant pro- fessors of ...
Strona 47
... Aristotelian ( at least , all the ones I have seen ) . But to analyze them it is necessary to regard them from the perspective of the bad man rather than from that of the " good guy , " from the view- point not of the hero but of the ...
... Aristotelian ( at least , all the ones I have seen ) . But to analyze them it is necessary to regard them from the perspective of the bad man rather than from that of the " good guy , " from the view- point not of the hero but of the ...
Strona 106
... Aristotelian " work . Why is it described in this way ? Because it is a realistic work , which conforms to the famous " three unities " of time , place , and action . But there all the supposed Aristotelian characteristics of the work ...
... Aristotelian " work . Why is it described in this way ? Because it is a realistic work , which conforms to the famous " three unities " of time , place , and action . But there all the supposed Aristotelian characteristics of the work ...
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abstract accept according actors anagnorisis Arena Theater Aristotelian Aristotle Arnold Hauser artist asked audience Augusto Boal barbecue becomes behavior Bertolt Brecht bourgeois bourgeoisie Brazilian Brecht catharsis character character's characteristics concrete conflict Corín Tellado created Creon dianoia dramatic action emotions empathy epic poetry esthetic ethical example exist fact feudal function fundamental Galy Gay genre hamartia hand happened happiness Hegel hero human interpretation Joker live Machiavelli matter Molière moral movement necessary objective oppressed Parmenides participants passions peasants perfect performance peripeteia person pity and fear play poetics political present produced proposed protagonist reality relation ritual role São Paulo scene social ethos society soul spectacle spectator stage story structure symbol system of tragedy technique theatrical things Timoteo tion Tiradentes Tragedy imitates tragic flaw transformed truth utilized values vice virtù virtue virtuous woman Zumbi