By Susanne Valerie (auth.)

Actors and the artwork of functionality: less than Exposure combines the author’s major biographical paths: her expert dedication to the fi elds of either theater and philosophy. The artwork of performing on level is analyzed right here not just from the theoretical point of view of a spectator but in addition from the viewpoint of the actor. the writer attracts on her adventure as either a theater actor and a school professor whose teachings within the paintings of appearing depend seriously on her personal event and in addition on her philosophical wisdom. The booklet is exclusive not just when it comes to its content material but additionally when it comes to its variety. Written in a multiplicity of voices, the textual content oscillates among philosophical reasoning and narrative kinds of writing, together with micronarratives, fables, parables, and inter alia through Carroll, Hoff mann, and Kleist. for this reason the e-book claims transdisciplinary discussion among the paintings of performing and the paintings of philosophical considering demands a classy research that questions and starts off to hunt choices to often confirmed and ingrained codecs of philosophy.

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And your own hand moves toward it with a will of its own – at nothingness that grips you – toward which you are pulled – resistance is futile – pulled – It is the blank space that makes the child come unstuck, the lacuna that bossily awakens the uncanny,* being at the mercy of a faceless power that sees without being seen. ”* The floodgates of the imagination open, releasing non-stop images. It is bodily torture. Almost unbearable. Faustus’s final day has come. After a last meal for himself and his friends, he says goodbye and locks himself in his study.

The meaning of the letters gets lost in their repetition. A house is a house is a house is a house! And a rose is a rose is a rose is a rose, says Gertrud Stein, the early messenger of enigmatic texts, spiral sentences that turn and turn until they come to a kind of linguistic standstill. ”* Now I don’t understand anything anymore. Language, otherwise always at their disposal, has dissolved, its syntax shaken, they can no longer depend on the words, which become a convention, arbitrary signs that signify an agreed-upon meaning.

Michael Hamburger (London: Anvil Press Poetry, 2001), 59. 0007  Actors and the Art of Performance phantom of my self. Am I my own undoing? What’s come over me? The ego dissolved in an unending echo that takes meaning away from the familiar word. Close up. Silly game! All joy destroyed, every plus turned into a minus. Put through the wringer until there’s nothing left, nothing, nothing at all. I disappear into nothing, black magic, correspondence with un-time. An initial emergency of being. Whatever.

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