Theater of the OppressedUrizen Books, 1979 - 197 |
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Strona 61
... bourgeoisie . - Virtù and praxis were and are the two touchstones of the bourgeoisie , its two principal characteristics . Obviously one can- not conclude from this that only he who was not a nobleman could possess virtù or trust in ...
... bourgeoisie . - Virtù and praxis were and are the two touchstones of the bourgeoisie , its two principal characteristics . Obviously one can- not conclude from this that only he who was not a nobleman could possess virtù or trust in ...
Strona 65
... bourgeoisie directed its energies toward the exaltation of individual man the same man who was later submitted to severe reduction , by that same bourgeoisie , when its principal opponent came to be the proletariat . But it waited for ...
... bourgeoisie directed its energies toward the exaltation of individual man the same man who was later submitted to severe reduction , by that same bourgeoisie , when its principal opponent came to be the proletariat . But it waited for ...
Strona 73
... bourgeoisie soon realized this fact , and as it assumed political power , it began the task of taking away from theater the same weapons that it - the bourgeoisie itself , and for its own benefit- had given to the theater . Machiavelli ...
... bourgeoisie soon realized this fact , and as it assumed political power , it began the task of taking away from theater the same weapons that it - the bourgeoisie itself , and for its own benefit- had given to the theater . Machiavelli ...
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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