Theater of the OppressedUrizen Books, 1979 - 197 |
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Strona 37
... anagnorisis — that is , through the recognition of his flaw as suck and , by means of reasoning , the explanation of it . The hero accepts his error , hoping that , empathically , the spectator will also accept as bad his own hamartia ...
... anagnorisis — that is , through the recognition of his flaw as suck and , by means of reasoning , the explanation of it . The hero accepts his error , hoping that , empathically , the spectator will also accept as bad his own hamartia ...
Strona 42
... anagnorisis ( recognition of his sins ) is practically ac- companied by the birth of a new character , and the latter is saved . In tragedy , the acts of the character are irremediable ; but in this type of drama , the acts of the ...
... anagnorisis ( recognition of his sins ) is practically ac- companied by the birth of a new character , and the latter is saved . In tragedy , the acts of the character are irremediable ; but in this type of drama , the acts of the ...
Strona 49
... anagnorisis is a fundamental and very important element of the system . It can be the recognition made by the char- acter himself , and thus empathically this recognition is trans- ferred to the spectator . But in any case , the ...
... anagnorisis is a fundamental and very important element of the system . It can be the recognition made by the char- acter himself , and thus empathically this recognition is trans- ferred to the spectator . But in any case , the ...
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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