Future Theatre Research Origin, Medium, Performance-Text, Reception and Acting
Eli Rozik explores the principles that generated the theatre medium, and its possible roots in the preverbal imagistic mode of thinking. This mode characterises the remnants of preverbal thinking, such as unconscious thinking (dreaming), the embryonic speech of toddlers, and their imaginative play a...
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| Main Author | |
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| Format | eBook |
| Language | English |
| Published |
Liverpool
Liverpool University Press
01.01.2016
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| Edition | 1 |
| Subjects | |
| Online Access | Get full text |
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| Abstract | Eli Rozik explores the principles that generated the theatre medium, and its possible roots in the preverbal imagistic mode of thinking. This mode characterises the remnants of preverbal thinking, such as unconscious thinking (dreaming), the embryonic speech of toddlers, and their imaginative play and drawings prior to mastering verbal thinking. The book is a recapitulation of major findings regarding the nature of the theatre, its medium, fictional creativity and origin, and includes new unpublished studies. It address the principles of imagistic, metaphoric, symbolic and fictional thinking, which characterise the theatre, as well as reception and acting. The work has been designed to fit the structure of a university course, and will appeal to people interested in broadening their knowledge and understanding of theatre art. |
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| AbstractList | Eli Rozik explores the principles that generated the theatre medium, and its possible roots in the preverbal imagistic mode of thinking. This mode characterises the remnants of preverbal thinking, such as unconscious thinking (dreaming), the embryonic speech of toddlers, and their imaginative play and drawings prior to mastering verbal thinking. The book is a recapitulation of major findings regarding the nature of the theatre, its medium, fictional creativity and origin, and includes new unpublished studies. It address the principles of imagistic, metaphoric, symbolic and fictional thinking, which characterise the theatre, as well as reception and acting. The work has been designed to fit the structure of a university course, and will appeal to people interested in broadening their knowledge and understanding of theatre art. |
| Author | ELI ROZIK |
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| Copyright | 2016 Eli Rozik |
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| DOI | 10.2307/j.ctv3029srm |
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| Discipline | Drama Philosophy Recreation & Sports |
| EISBN | 9781782842859 1782842853 |
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| PublicationPlace | Liverpool |
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| Snippet | Eli Rozik explores the principles that generated the theatre medium, and its possible roots in the preverbal imagistic mode of thinking. This mode... |
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| SourceType | Publisher |
| SubjectTerms | Performing Arts Philosophy Theater Theater-Philosophy |
| Subtitle | Origin, Medium, Performance-Text, Reception and Acting |
| TableOfContents | Front Matter
Table of Contents
Preface and Acknowledgements
Introduction
1: Basic Iconic Units
2: Stage Metaphor
3: Theatre Experience as Metaphor
4: Stage Allegory
5: Speech-Act Stage Metaphor
6: Set and Costume Metaphor
[Part II Introduction]
7: Stage Conventions
8: The Chorus:
9: Lady Macbeth:
10: Functions of Language in Theatre
11: Nature of Fictional Thinking
12: Sacred Narratives for Secular Spectators
13: Theatre Ethics
14: Theatre Aesthetics
15: Theatre Rhetoric
16: Implied Spectator
17: Theatre as Thinking Laboratory
18: Vicarious Theatre Experience
19: Enigmatic Appeal of Titus Andronicus
20: Acting Body
21: Back to “Cinema is Filmed Theatre”
22: Creation of Imagistic/Iconic Mediums
List of Cited Theoretical Works
List of Cited Theatre Texts
List of Cited Art Works (other than theatre)
Index Structure and thematic specification -- Archetypal patterns of response -- Stratified structure of fictional world -- Structure of character -- Possible fallacies -- Sophocles' Oedipus the King -- 12 Sacred Narratives for Secular Spectators -- Basic features of 'myth' -- Functional approaches -- Mythical mappings -- Universality of mythical mappings -- Binding of Isaac -- Passion of the Christ -- 13 Theatre Ethics -- Hegel's 'ethical substance' -- Aristotle's 'philanthropon' -- Kant's 'categorical imperative' -- Dramatic irony -- Synthesis of Hegel and Aristotle -- Sophocles' Antigone -- 14 Theatre Aesthetics -- Aesthetic experience -- Kinds of aesthetic experience -- Functions of aesthetic experience -- Range of aesthetic experiences -- Objective/subjective dispute -- Objective and subjective principles -- On a possible aesthetics of theatre -- 15 Theatre Rhetoric -- Author-audience interaction -- Structural equivalence -- Rhetoric interaction -- Rhetoric pre-structuration -- Yerushalmi's Woyzeck 91 -- Part IV Reception -- 16 Implied Spectator -- Implied vs. real spectator -- Implied spectator and rhetoric structure -- Espert's The House of Bernarda Alba -- Thinking experimentation -- 17 Theatre as Thinking Laboratory -- Scientific mode of thinking -- Theatrical thinking - A comparison -- 18 Vicarious Theatre Experience -- Fictional thoughts -- Metaphoric predication -- Ontogenetic development -- Delegating imaginative play -- Vicarious experience -- 19 Enigmatic Appeal of Titus Andronicus -- Synopsis -- Absurdist structure -- Structure of vengeance -- Reversal of structure -- Oxymoronic structure -- Part V Stage Acting -- 20 Acting Body -- States' 'binocular vision' -- Principle of 'acting' -- Deflection of reference -- Expanded notion of 'acting' -- Semiotic limitations -- A personal experience -- 21 Back to "Cinema is Filmed Theatre" Barthes' 'uncoded iconicity' -- Photographic indexality -- Photographic iconicity -- Cinema as the recording of a theatre-text -- Part VI Learned Intuitions -- 22 Creation of Imagistic/Iconic Mediums -- Preverbal thinking -- Invention of language and its innovations -- Adoption of preverbal principles by language -- Two-fold cultural role of language: -- Suppression of imagistic thinking -- Creation of iconic mediums -- Advent of the theatre medium -- List of Cited Theoretical Works -- List of Cited Theatre-Texts -- List of Cited Art Works (other than theatre) -- Index Cover -- Dedication -- Title Page -- Copyright -- Contents -- Preface and Acknowledgements -- Introduction: Theatre Medium -- 1 Basic Iconic Units -- Imagistic definition of 'iconicity' -- Basic iconic units -- Real objects on stage -- Part I Iconic Figures of Speech -- 2 Stage Metaphor -- Verbal Metaphor -- Iconic metaphor -- Imagistic metaphor -- Stage symbol -- 3 Theatre Experience as Metaphor -- Stage metaphor -- Metaphoric fictional world -- Paradox of double reference -- Mechanism of textual metaphor -- Sophocles' Oedipus the King -- García Lorca's Yerma -- 4 Stage Allegory -- Metaphoric stage allegory -- Interpreting stage allegory -- Mixing praxical and allegoric features -- Mixed metaphor in allegoric texts -- 5 Speech-Act Stage Metaphor -- Ionesco's Exit the King -- Speech-act metaphor on stage -- The predicate 'is a metaphor' -- Stylistic implications -- 6 Set and Costume Metaphor -- Metaphoric experience -- Set and costume metaphor -- Five basic models -- Set and costume mixed metaphor -- Part II Stage Conventionality -- 7 Stage Conventions -- Notion of 'stage convention' -- Kinds of stage conventions -- Functions of stage conventions -- Ironic conventions -- Aesthetic conventions -- Theatre norms -- 8 The Chorus: Matrix of Stage Conventions -- Dramatic chorus -- Dithyrambic storytelling -- Bacchylides' Theseus Dive -- Nature of dithyramb -- 9 Lady Macbeth: In the Making of a Tragic Hero -- Confidant convention -- Lady Macbeth as confidant -- Confidential motifs -- Lady Macbeth's transfiguration -- Poetic implications -- 10 Functions of Language in Theatre -- Ingarden's approach -- Ingarden's functions of language -- Language mediation -- Speech interaction -- Speech act theory -- Iconic interaction -- Stage Conventions -- Part III Fictional Thinking -- 11 Nature of Fictional Thinking -- Fictional world |
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