Theater of the OppressedUrizen Books, 1979 - 197 |
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Strona 168
... Zumbi , we were trying to maintain the permanent mask of the character being interpreted , independently of the actors per- forming each role . Thus the characteristic violence of King Zumbí was maintained regardless of which actor ...
... Zumbi , we were trying to maintain the permanent mask of the character being interpreted , independently of the actors per- forming each role . Thus the characteristic violence of King Zumbí was maintained regardless of which actor ...
Strona 169
... Zumbi - and this is neither a virtue nor a defect - each moment of the play was interpreted " presently " and " con- flictually , " even though the " montage " of the performance might not allow one to forget the presence of the story's ...
... Zumbi - and this is neither a virtue nor a defect - each moment of the play was interpreted " presently " and " con- flictually , " even though the " montage " of the performance might not allow one to forget the presence of the story's ...
Strona 180
Augusto Boal. Structures of the " Joker " In Zumbi all the actors interpreted all the characters . The distri- bution of roles was made in each scene without regard to the continuity ; on the contrary , an effort was made to avoid it by ...
Augusto Boal. Structures of the " Joker " In Zumbi all the actors interpreted all the characters . The distri- bution of roles was made in each scene without regard to the continuity ; on the contrary , an effort was made to avoid it by ...
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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