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000772178 020__ $$a9781137596345
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000772178 0247_ $$a10.1057/9781137596345$$2doi
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000772178 1001_ $$aValerie, Susanne,$$eauthor.
000772178 24510 $$aActors and the Art of Performance: Under Exposure /$$cby Susanne Valerie.
000772178 264_1 $$aLondon :$$bPalgrave Macmillan UK :$$bImprint :$$bPalgrave Macmillan,$$c2016.
000772178 300__ $$a1 online resource (xi, 120 pages) 
000772178 336__ $$atext$$btxt$$2rdacontent
000772178 337__ $$acomputer$$bc$$2rdamedia
000772178 338__ $$aonline resource$$bcr$$2rdacarrier
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000772178 4901_ $$aPerformance Philosophy
000772178 5050_ $$aCover ; Half_Title ; Series ; Title ; Copyright ; Epigraphs ; Dedication ; Contents; Acknowledgments; About the Author; Nous Pathetikos; Why do you want to be an actor?; Part I Hits ; 1 Auditorium X; Double stalemate; Turning point, peripeteia; Turn around; i, mine; 2 Speculations; Actors' fears; Crying; Child's play; Exposed; With-out me; 3 Black Out; First time at the theater; Part II Experts in Being?; 4 The Actor: A Creature of Fable; Why do you want to be an actor?; 5 The Causa Corpora; The kiss of Olympia; Machine against man; The actor's trump card; 6 The Gift of Acting; Skipping
000772178 5058_ $$aPrejudiceSubject-based thinking versus stage experience; Master and servant; Bodies on stage; Innocence of becoming; Language and speaking; Digesting speech; Counterwords; The Other, the others; Affect versus thought; Thinking and acting; Repetition; 7 The Gift of Death; Tu es mort; Theater as a symbolic death; Point of no return; Felicity -- a salto mortale; Our friend Touchstone; 8 Finale and Punctum; Why do you want to be an actor?
000772178 506__ $$aAccess limited to authorized users.
000772178 520__ $$aActors and the Art of Performance: Under Exposure combines the authorℓ́ℓs two main biographical paths: her professional commitment to the fi elds of both theater and philosophy. The art of acting on stage is analyzed here not only from the theoretical perspective of a spectator but also from the perspective of the actor. The author draws on her experience as both a theater actor and a university professor whose teachings in the art of acting rely heavily on her own experience and also on her philosophical knowledge. The book is unique not only in terms of its content but also in terms of its style. Written in a multiplicity of voices, the text oscillates between philosophical reasoning and narrative forms of writing, including micronarratives, fables, parables, and inter alia by Carroll, Hoff mann, and Kleist. Hence the book claims that a transdisciplinary dialogue between the art of acting and the art of philosophical thinking calls for an aesthetic study that questions and begins to seek alternatives to traditionally established and ingrained formats of philosophy. This book is open access under a CC BY license.
000772178 650_0 $$aCulture$$xStudy and teaching.
000772178 650_0 $$aTheater.
000772178 77608 $$iPrint version:$$z9781137596338
000772178 830_0 $$aPerformance philosophy.
000772178 852__ $$bebk
000772178 85640 $$3SpringerLink$$uhttps://univsouthin.idm.oclc.org/login?url=http://link.springer.com/10.1057/9781137596345$$zOnline Access$$91397441.1
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