Future theatre research : origin, medium, performance-text, reception and acting /

Saved in:
Bibliographic Details
Author / Creator:Rozik, Eli, author.
Imprint:Brighton ; Chicago : Sussex Academic Press, [2016]
Description:1 online resource
Subject:Theater -- Philosophy.
PERFORMING ARTS -- Theater -- General.
Theater -- Philosophy.
Electronic books.
Electronic books.
Format: E-Resource Book
URL for this record:http://pi.lib.uchicago.edu/1001/cat/bib/11306783
Hidden Bibliographic Details
Notes:Includes bibliographical references and index.
Print version record.
Other form:Print version: 9781845197742 1845197747
Table of Contents:
  • Front 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 allegoryMixing 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 ConventionsDramatic 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.
  • Structure and thematic specificationArchetypal patterns of response; Stratified structure of fictional world; Structure of character; Possible fallacies; 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 experienceRange 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.