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'The spectator and not the actor is the central focus of Brecht's stagecraft' ab 8.99 EURO 1. Auflage
Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Hideyo Amamoto (January 2, 1926 March 23, 2003) was a prolific Japanese actor from the Wakamatsu ward of Kitaky sh best known for portraying Dr. Shinigami in the original Kamen Rider series as well as many other characters in tokusatsu films and the Godzilla series. Amamoto also used the pseudonym of Eisei Amamoto for most of his career, Eisei being a misreading of the kanji in his real name, Hideyo. He died on March 23, 2003 from acute pneumonia at the age of 77.Film and television credits, Nijushi no hitomi (1954) - Hisako's husband, The Birth of Japan (1959) - Spectator at Gods' Dance, Aru kengo no shogai (1959),Son go ku (1959), Ankokugai no kaoyaku (1959), Dokuritsu gurentai nishi-e (1960), Otoko tai otoko (1960) Killer, Denso Ningen (1960) - Onishi's Henchman.
This book explores the modern physicist Niels Bohr's philosophical thought, specifically his pivotal idea of complementarity, with a focus on the relation between the roles of what he metaphorically calls "spectators" and "actors." It seeks to spell out the structural and historical complexity of the idea of complementarity in terms of different modes of the 'spectator-actor' relation, showing, in particular, that the reorganization of Bohr's thought starting from his 1935 debate with Einstein and his collaborators is characterized by an extension of the dynamic conception of complementarity from non-physical contexts to the very field of quantum theory. Further, linked with this analysis, the book situates Bohr's complementarity in contemporary philosophical context by examining its intersections with post-Heideggerian hermeneutics as well as Derridean deconstruction. Specifically, it points to both the close affinities and the differences between Bohr's idea of the 'actor-spectator' relation and the hermeneutic notion of the relation between "belonging" and "distanciation."
Have you ever prepared a speech until you knew it by heart and then found out that, when the moment arrives, the surprise and uniqueness of hic et nunc are inevitable? No matter how much you prepare a text, it will need improvisation to be used on a stage or in the street. But, what is the limit between improvisation and technique, experience and training? Can we scientifically measure the improvisation of a text? This work aims to investigate in which dimension art meets science and how it happens. Artists need to discover new conceptual instruments that contribute to the probing of the laws of matter, social existence, and the human mind. The rigorous and fascinating trip that Anna Grazia Cafaro proposes to capture the sense, function, and nature of the actor's improvisation is a splendid and a unique example of a "new alliance" between art and science, predicted forty years ago by the scientist Ilya Prigogine and the philosopher Isabelle Stengers. Thanks to the application of Chaos Theory to the theatrical processes, attempted here for the first time, the actor and the performance are analyzed as "complex dynamic systems" like a cell, in which, paradoxically, chaos and order coexist and maintain the system in balance, the continuous passages from chaos to order, create the necessary tension and energy that allows the spectator to build his own meaning.Despite the complex theoretical concepts this book is written in an accessible language and includes clear examples that make it comprehensible to a wide audience. It is perfect for students of theater, practitioners, scholars, and anyone who is curious about communicative mechanisms. It can be used in theater, science, comparative literature, and philosophy departments.
This paper was born out of the simple desire to analyse some of the transformations undergone by Romanian theatre during the last decades, transformations associated with the change in political regime, as well as with the influence from Occidental theatrical paradigms. The motivation of this undertaking resides in the experience as an actor, but also as a passionate reader and theatre spectator. Finding that the analysis of the dramaturgic post-'89 orientation combined with a contrastive approach of communist and post-communist dramaturgy has occupied a rather modest place in the pursuits of theatre exegetes so far, I have decided to dedicate a thorough study to theatrical avatars of the communist and post-communist period. In addition, I would like to point out that it is likely for theatre to also gradually transform into what culture has become everywhere: a particular business, a matter of personal initiative, subject to all the benefits and downfalls inherent in any activity performed in our pluralist society.
Seminar paper from the year 2005 in the subject English Language and Literature Studies - Literature, grade: 1,0, University College Dublin (Faculty of Arts; School of English and Drama), course: Brecht and Political Theatre, 9 entries in the bibliography, language: English, abstract: The most important principle of Brecht's epic theatre is its aim of representing conditions rather than developing actions. This theatre is designed to show attitudes in the sense of relationships between people, their connections to the environment and their roles in politics and society. Thus the human being is the focus, the object of inquiry of Brecht's plays, but not as an individual but as a social being which is shaped and changed through interactions with society through life. Furthermore each scene has its own value and is in itself determined through beginning and end. Therefore it is possible to connect only the most important scenes, one after another, whereas in a completed action, such as the case in dramatic theatre defined by Aristotle, one scene results out of another. In Brecht's plays the focus lies on the process of the story, on the how and why, rather than on the product and the ending, on the what. Combining these two main principles of Brechtian theatre, the human being and the process, the overall aim is to study the human being in the process of society, raising the question if changes can be made in order to alter present conditions. In order to achieve changes in society the spectators have to be made aware of situations that need to be changed. Brecht attains this purpose by evoking the spectator's astonishment with the support of the basic concepts of epic theatre, Verfremdung and Gestus and Haltung. Accordingly there has to be closer look taken at the way in which these two elements have an impact on the spectator's attitude towards society and how they are used on stage in order to make the audience act itself.