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

Format:

Book

Author/Creator:

Rozik, Eli, author.

Language:

English

Subjects (All):

Theater--Philosophy.

Theater.

Physical Description:

x, 313 pages ; 24 cm

Place of Publication:

Brighton ; Chicago : Sussex Academic Press, [2016]

Summary:

Eli Rozik explores the principles that generated the theatre medium, and its possible roots in the preverbal imagistic mode of thinking. This mode characterizes the remnants of preverbal thinking, such as unconscious thinking (dreaming), the embryonic speech of toddlers, and their imaginative play and drawings prior to mastering verbal thinking. The book is a recapitulation of major findings regarding the nature of the theatre, its medium, fictional creativity, its main axis of interaction (stage-audience) and origin. Future Theatre Research also includes new unpublished studies on ethic, aesthetic and rhetoric uncharted aspects of the theatre experience, as well as on reception and acting. It addresses the principles of imagistic, metaphoric, symbolic and fictional thinking, which characterized preverbal thinking, and, following the invention of language, probably developed into a culturally-established nonverbal theatre medium. Eli Rozik's book provides appropriate background material for pondering the possible developments of theatre theory in the future. The work has been designed to fit the structure of a university course, and will appeal to all those interested in broadening their knowledge and understanding of theatre art. Book jacket.

Contents:

1 Basic Iconic Units 2

Imagistic definition of 'iconicity' 3

Basic iconic units 4

Real objects on stage 9

Part I Iconic Figures of Speech

2 Stage Metaphor 13

Verbal Metaphor 13

Iconic metaphor 18

Imagistic metaphor 24

Stage symbol 25

3 Theatre Experience as Metaphor 31

Stage metaphor 32

Metaphoric fictional world 33

Paradox of double reference 35

Mechanism of textual metaphor 37

Sophocles' Oedipus the King 38

Garcia Lorca's Yerma 39

4 Stage Allegory 43

Metaphoric stage allegory 43

Interpreting stage allegory 47

Mixing praxical and allegoric features 49

Mixed metaphor in allegoric texts 52

5 Speech-Act Stage Metaphor 53

Ionesco's Exit the King 54

Speech-act metaphor on stage 54

The predicate 'is a metaphor' 55

Stylistic implications 61

6 Set and Costume Metaphor 63

Metaphoric experience 64

Set and costume metaphor 65

Five basic models 67

Set and costume mixed metaphor 74

Part II Stage Conventionality

7 Stage Conventions 79

Notion of 'stage convention' 79

Kinds of stage conventions 81

Functions of stage conventions 84

Ironic conventions 85

Aesthetic conventions 90

Theatre norms 91

8 The Chorus: Matrix of Stage Conventions 93

Dramatic chorus 95

Dithyrambic storytelling 100

Bacchylides' Theseus Dive 102

Nature of dithyramb 106

9 Lady Macbeth: In the Making of a Tragic Hero 109

Confidant convention 110

Lady Macbeth as confidant 113

Confidential motifs 116

Lady Macbeth's transfiguration 119

Poetic implications 122

10 Functions of Language in Theatre 124

Ingarden's approach 124

Ingarden's functions of language 126

Language mediation 127

Speech interaction 129

Speech act theory 130

Iconic interaction 133

Stage Conventions 134

Part III Fictional Thinking

11 Nature of Fictional Thinking 139

Fictional world 140

Structure and thematic specification 142

Archetypal patterns of response 143

Stratified structure of fictional world 146

Structure of character 151

Possible fallacies 151

Sophocles' Oedipus the King 152

12 Sacred Narratives for Secular Spectators 156

Basic features of 'myth' 157

Functional approaches 157

Mythical mappings 161

Universality of mythical mappings 165

Binding of Isaac 167

Passion of the Christ 168

13 Theatre Ethics 172

Hegel's 'ethical substance' 172

Aristotle's 'philanthropon' 175

Kant's 'categorical imperative' 176

Dramatic irony 178

Synthesis of Hegel and Aristotle 180

Sophocles' Antigone 182

14 Theatre Aesthetics 186

Aesthetic experience 187

Kinds of aesthetic experience 187

Functions of aesthetic experience 189

Range of aesthetic experiences 191

Objective/subjective dispute 192

Objective and subjective principles 193

On a possible aesthetics of theatre 197

15 Theatre Rhetoric 200

Author-audience interaction 201

Structural equivalence 201

Rhetoric interaction 204

Rhetoric pre-structuration 205

Yerushalmi's Woyzeck 91 206

Part TV Reception

16 Implied Spectator 217

Implied vs. real spectator 217

Implied spectator and rhetoric structure 218

Espert's The House of Bernarda Alba 220

Thinking experimentation 227

17 Theatre as Thinking Laboratory 228

Scientific mode of thinking 228

Theatrical thinking - A comparison 232

18 Vicarious Theatre Experience 237

Fictional thoughts 238

Metaphoric predication 240

Ontogenetic development 241

Delegating imaginative play 243

Vicarious experience 244

19 Enigmatic Appeal of Titus Andronicus 248

Synopsis 249

Absurdist structure 249

Structure of vengeance 250

Reversal of structure 252

Oxymoronic structure 256

Part V Stage Acting

20 Acting Body 261

States' 'binocular vision' 262

Principle of 'acting' 265

Deflection of reference 266

Expanded notion of 'acting' 268

Semiotic limitations 270

A personal experience 272

21 Back to "Cinema is Filmed Theatre" 276

Barthes' 'uncoded iconicity' 276

Photographic indexality 277

Photographic iconicity 282

Cinema as the recording of a theatre-text 285

Part VI Learned Intuitions

22 Creation of Imagistic/Iconic Mediums 291

Preverbal thinking 292

Invention of language and its innovations 293

Adoption of preverbal principles by language 294

Two-fold cultural role of language: 295

Suppression of imagistic thinking 295

Creation of iconic mediums 296

Advent of the theatre medium 296.

Notes:

Includes bibliographical references and index.

ISBN:

9781845197742

1845197747

OCLC:

921926710