鸣叫大步走
发表于 2025-3-21 17:12:20
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消毒
发表于 2025-3-21 22:23:42
2946-5958 onal interaction between actors and audiences depends on an This book offers an innovative account of how audiences and actors emotionally interacted in the English theatre during the middle decades of the eighteenth century, a period bookended by two of its stars: David Garrick and Sarah Siddons. D
artless
发表于 2025-3-22 04:07:54
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原谅
发表于 2025-3-22 07:58:05
Book 2023teenth century, a period bookended by two of its stars: David Garrick and Sarah Siddons. Drawing upon recent scholarship on the history of emotions, it uses practice theory to challenge the view that emotional interactions between actors and audiences were governed by empathy. It carefully works thr
服从
发表于 2025-3-22 11:23:52
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救护车
发表于 2025-3-22 13:22:31
https://doi.org/10.1007/978-3-663-07100-6 too. It summarises the origins of empathy theory in the work of Horace and Quintilian and how these ideas were taken up by eighteenth-century theorists. The chapter offers a critique of the cognitive turn in theatre studies, where neuroscientific research has been used to give empathy theory new im
Intellectual
发表于 2025-3-22 20:15:39
https://doi.org/10.1007/978-3-322-89351-2al” style of acting, it is a reputation built largely by biographers who had their own agendas for promoting the revolutionary nature of their acting. However, Macklin’s notes on acting and Garrick’s correspondence with audience members (together with his satirical .) reveals a theory of character t
PAEAN
发表于 2025-3-22 22:17:53
https://doi.org/10.1007/978-3-322-89351-2udiences. They acted using a sophisticated system of facial expressions, gestures, and vocal techniques. Key to this system was the ancient idea of decorum which referred not only to actors’ physical and vocal performances but also to how appropriately they interpreted their parts according to chara
archaeology
发表于 2025-3-23 04:37:53
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curettage
发表于 2025-3-23 08:20:22
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