By Susanne Valerie (auth.)
Actors and the artwork of functionality: less than Exposure combines the author’s major biographical paths: her specialist dedication to the fi elds of either theater and philosophy. The artwork of performing on degree is analyzed right here not just from the theoretical standpoint of a spectator but in addition from the viewpoint of the actor. the writer attracts on her event as either a theater actor and a college professor whose teachings within the paintings of performing count seriously on her personal adventure and in addition on her philosophical wisdom. The ebook is exclusive not just by way of its content material but in addition by way of its variety. Written in a multiplicity of voices, the textual content oscillates among philosophical reasoning and narrative different types of writing, together with micronarratives, fables, parables, and inter alia by way of Carroll, Hoff mann, and Kleist. as a result the booklet claims transdisciplinary discussion among the paintings of appearing and the artwork of philosophical pondering demands a classy examine that questions and starts to hunt possible choices to often proven and ingrained codecs of philosophy.
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It is a cut in the flow of chronos. In separating time it creates rhythm and thus harmonizes time that moves in different directions. 0007 Actors and the Art of Performance Finding words, emptying words. Finding meaning, emptying meaning. Magic play in the playing field of being-in-the-world. One of the first words a child learns to spell, a word that stands proudly in all school notebooks, is the word “I”. The tiny word I in uncertain writing all down the line, an I and an asterisk alternate, along the first, the second, the third line down to the bottom margin of the page.
Science is the era’s ideal, the figure, the algorithm. Not the body, not the word, and most definitely not some dubious in-between. There is no doubt about this, no matter how much talk there is of differences. Yes is yes, and no is no. Round is not square, hot is not cold, you cannot put a square peg in a round hole, and I am I. But what happens with everything that I do not think or say when it nevertheless comes knocking, threateningly? For example, in the act of acting in the theater, this suspicious, corrupt with-out me, is an act in which I, the offender, am no longer sure I am the only offender, and still there is no other offender in sight.
Italics in the original. 0007 Actors and the Art of Performance With-out me no not like this not with me this wasn’t part of the deal not like this you got that without me what would happen otherwise where will i be enough finito i’ve had enough i don’t want to anymore what’s this about anyway i thought it was about schiller’s joan and now If this is what Hannah J. thought, she was right. This is about Schiller’s Joan of Arc. But not her literary fiction, which can be closed back into volume II after reading and put back onto the bookshelf unharmed.