Theater of the OppressedUrizen Books, 1979 - 197 |
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Strona 33
... chorus dialogue was clearly a reflection of the aristocrat - people ( commoners ) dialogue . The tragic hero , who later begins to carry on a dialogue not only with the chorus but also with his peers ( deuteragonist and tritagonist ) ...
... chorus dialogue was clearly a reflection of the aristocrat - people ( commoners ) dialogue . The tragic hero , who later begins to carry on a dialogue not only with the chorus but also with his peers ( deuteragonist and tritagonist ) ...
Strona 183
... chorus ( chorus of the hero ) . The other , the bandit- chorus , the " bad " chorus , is made up of the actors who represent adversary roles . In the sample example : King Claudius , Queen Gertrude , Laertes , Polonius , etc. The ...
... chorus ( chorus of the hero ) . The other , the bandit- chorus , the " bad " chorus , is made up of the actors who represent adversary roles . In the sample example : King Claudius , Queen Gertrude , Laertes , Polonius , etc. The ...
Strona 184
... chorus . The adaptation of each text in particular will determine the necessary modifications , keeping the structure of the cast . The " Joker " will also have a permanent " structure of performance " for all plays . This structure is ...
... chorus . The adaptation of each text in particular will determine the necessary modifications , keeping the structure of the cast . The " Joker " will also have a permanent " structure of performance " for all plays . This structure is ...
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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