By Gerald Guinness, Andrew Hurley
ISBN-10: 0915027208
ISBN-13: 9780915027200
This can be a ebook approximately play perform instead of play concept. after all, perform presupposes conception, yet right here the editors decide to hold basic theoretical assumptions below hide as opposed to strength them into explicitness. The participants to this quantity got loose rein to debate whatever element of literary play stuck their fancy. The absence of a predetermined theoretical framework has led to an idiosyntractic quantity at the varied kinds of play.
Read or Download Auctor Ludens: Essays on Play in Literature PDF
Best criticism & theory books
Download e-book for kindle: Voices of Russian Literature: Interviews with Ten by Sally Laird
Voices of Russian Literature provides in-depth interviews with ten of the main attention-grabbing figures writing in Russian this day. those figures diversity from demonstrated authors akin to Andrei Bitov and Ludmilla Petrushevskaya, who all started their careers within the post-Stalinist thaw of the Fifties, to novices like Viktor Pelevin, hailed as essentially the most unique writers of the current period.
The Works of Thomas Traherne II: Commentaries of Heaven, - download pdf or read online
Thomas Traherne (1637? - 1674), a priest of the Church of britain throughout the recovery, was once little identified till the early 20th century, whilst his poetry and Centuries of Meditations have been came upon. there were on account that miscellaneous guides of his poetry and devotional writings. The Works of Thomas Traherne brings jointly all of Traherne's extant works in a definitive, revealed variation for the 1st time.
Get Faulkner And the Great Depression: Aesthetics, Ideology, And PDF
? “Remarkably, writes Ted Atkinson, ? “during a interval approximately equivalent to the nice melancholy, Faulkner wrote the novels and tales regularly learn, taught, and tested via students. this is often the 1st finished learn to contemplate his such a lot acclaimed works within the context of these tough occasions.
Glickman argues that early immigrants to Canada introduced with them the expectancy that nature will be grand, mysterious, notable - even terrifying - and welcomed scenes that conformed to those notions of sublimity. She contends that to interpret their descriptions of nature as "negative," as such a lot of critics have performed, is an important false impression.
- The nightmare of history: the fictions of Virginia Woolf and D.H. Lawrence
- Velimir Khlebnikov: A Critical Study
- Architexts of Memory: Literature, Science, and Autobiography
- Aparte: Conceptions and Deaths of Soren Kierkegaard (Kierkegaard and postmodernism)
- Unsettling the literary West: authenticity and authorship
Additional info for Auctor Ludens: Essays on Play in Literature
Sample text
6 7 2 . Gesammelte Werke, [All translations are my own. M. ] 2 Brecht, Ueber eine nichtaristotelische Dramatik, Gesammelte Werke, vol. 15, p. 3 Brecht, Zur Theorie des Lehrstuecks, Gesammelte Werke, vol. 17, p. 1024. 266/7. 4 Ibid. 5 Ibid. p. 1023. The passage quoted was to form part of a book to be entitled Pedagogies. 6 Brecht, Anmerkung (zu den Lehrstuecken), Gesammelte Werke, vol. 17, p. 1035. , Gesammelte Werke, vol. 5, p. 432/3. 8 Roger Caillois, Jeux des Adultes in Jeux et Sports, Encyclopédie de la Pleiade, vol.
It follows that the actual performance of the play becomes secondary; the main emphasis lies on the process of rehearsal. The final performance has value only insofar as it forces the participants to crown the rehearsal process with a final existential experience of maximum intensity and concentration. The audience, while also able to learn something from contemplating the performance, derives its chief value from forcing the actors to reach the highest possible pitch of concentration. In the case of his most ambitious—and undoubtedly his finest— Lehrstueck, Die Massnahme {The Measures Taken), Brecht, in fact, finally came to the point where he insisted on the elimination of the audience altogether.
He must unleash crises. Naturally he must 34 ESSLIN not be afraid to admit that he does not always know "the" solution, that he does not always have it up his sleeve. The confidence of the participants must, rather, be based on his being able to make apparent what is not a solution. He must contribute questions, doubt, a multiplicity of possible points of view, comparisons, memories, experiences.... 11 Brecht was, in the last phase of his life, as artistic director of the Berliner Ensemble in East Berlin, in the fortunate position of being able to live up to this ideal.
Auctor Ludens: Essays on Play in Literature by Gerald Guinness, Andrew Hurley
by Daniel
4.2