Titlebook: ;

ambulance

书目名称Greek Tragedy and the Contemporary Actor影响因子(影响力)




书目名称Greek Tragedy and the Contemporary Actor影响因子(影响力)学科排名




书目名称Greek Tragedy and the Contemporary Actor网络公开度




书目名称Greek Tragedy and the Contemporary Actor网络公开度学科排名




书目名称Greek Tragedy and the Contemporary Actor被引频次




书目名称Greek Tragedy and the Contemporary Actor被引频次学科排名




书目名称Greek Tragedy and the Contemporary Actor年度引用




书目名称Greek Tragedy and the Contemporary Actor年度引用学科排名




书目名称Greek Tragedy and the Contemporary Actor读者反馈




书目名称Greek Tragedy and the Contemporary Actor读者反馈学科排名

安慰

The Aristotle Legacy,ama, leading them to mislocate the problems such plays pose, and misunderstand the manifold possibilities represented by the genre’s challenges. This chapter contends that the perspective of the theatre historian, concerned with the relationships between play-texts, theatre practices, and their chan

极小

The Stanislavski Legacy,ly pedagogic experiments, rather than insights and practices derived from his ongoing, psychophysical explorations (or subsequent integrative training systems) to the multiple challenges of acting tragedy. This recurring alignment of Aristotelian principles and Stanislavski-based practices also play

Alopecia-Areata

Acting Sound, dramatic verse, and the sensory qualities of words. This chapter examines the relationship of music and poetry in ancient Athens, and its performance culture. Most English-speaking actors probably will encounter the texts of tragedy via translation (a recent Australian production of . offers the ch

秘传

FIG

Acting Space,ce, transformational space, community space, and agonistic space to identify the range of challenges and opportunities confronting the contemporary performer. It counters Aristotelian disdain for the practicalities of staging a play by developing a revisionary account of ancient playwrights as skilf

FIG

Acting Chorus,hen staging the chorus, today’s actors are likely to be perplexed by the conundrum of how much ‘like a character’ the chorus is meant to be, especially in relation to the conventions of modern realist theatre. This chapter re-frames this question in terms of contemporary practice, identifying how a

aptitude

600

镀金

https://doi.org/10.1007/978-3-662-25270-3ama, leading them to mislocate the problems such plays pose, and misunderstand the manifold possibilities represented by the genre’s challenges. This chapter contends that the perspective of the theatre historian, concerned with the relationships between play-texts, theatre practices, and their chan