Theater of the OppressedUrizen Books, 1979 - 197 |
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Strona 83
... epic ? In the beginning , Bertolt Brecht applied that old word to his theater . Aristotle does not speak of epic theater , but only of epic poetry , tragedy , and comedy . The differences that he establishes between epic poetry and ...
... epic ? In the beginning , Bertolt Brecht applied that old word to his theater . Aristotle does not speak of epic theater , but only of epic poetry , tragedy , and comedy . The differences that he establishes between epic poetry and ...
Strona 86
Augusto Boal. Types of Poetry in Hegel - For Hegel , epic poetry presents " a complete world , whose ideal or essential content must be spread before us under the ... poetry is exactly opposite to epic poetry . " 86 THEATER OF THE OPPRESSED.
Augusto Boal. Types of Poetry in Hegel - For Hegel , epic poetry presents " a complete world , whose ideal or essential content must be spread before us under the ... poetry is exactly opposite to epic poetry . " 86 THEATER OF THE OPPRESSED.
Strona 87
Augusto Boal. Lyric poetry is exactly opposite to epic poetry . " Its content is that within ourselves , the ideal world , the contemplative or emotional life of soul , which instead of following up actions , re- mains at home with ...
Augusto Boal. Lyric poetry is exactly opposite to epic poetry . " Its content is that within ourselves , the ideal world , the contemplative or emotional life of soul , which instead of following up actions , re- mains at home with ...
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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