Are you looking for read ebook online? Search for your book and save it on your Kindle device, PC, phones or tablets. Download The Paradox of Acting PDF full book. Access full book title The Paradox of Acting by Denis Diderot. Download full books in PDF and EPUB format.
Author: Denis Diderot Publisher: ISBN: Category : History Languages : en Pages : 150
Book Description
The Paradox of Acting by Walter Herries Pollock Denis Diderot, first published in 1883, is a rare manuscript, the original residing in one of the great libraries of the world. This book is a reproduction of that original, which has been scanned and cleaned by state-of-the-art publishing tools for better readability and enhanced appreciation. Restoration Editors' mission is to bring long out of print manuscripts back to life. Some smudges, annotations or unclear text may still exist, due to permanent damage to the original work. We believe the literary significance of the text justifies offering this reproduction, allowing a new generation to appreciate it.
Author: Denis Diderot Publisher: ISBN: Category : History Languages : en Pages : 150
Book Description
The Paradox of Acting by Walter Herries Pollock Denis Diderot, first published in 1883, is a rare manuscript, the original residing in one of the great libraries of the world. This book is a reproduction of that original, which has been scanned and cleaned by state-of-the-art publishing tools for better readability and enhanced appreciation. Restoration Editors' mission is to bring long out of print manuscripts back to life. Some smudges, annotations or unclear text may still exist, due to permanent damage to the original work. We believe the literary significance of the text justifies offering this reproduction, allowing a new generation to appreciate it.
Author: Denis Diderot Publisher: Createspace Independent Publishing Platform ISBN: 9781514652350 Category : Languages : en Pages : 108
Book Description
Denis Diderot, The Paradox of the actor Diderot's "thesis is that a great actor must not be sensitive; or, in other words, that he must not feel the emotions he expresses. "Extreme sensitiveness makes poor actors; while absolute lack of sensitiveness is a quality of the highest acting." He sustains this view by six arguments, viz.: we can not repeat emotion at will, but the power is soon exhausted; the age when the comedian is at his greatest is not youth, when he is quick and full of emotion, but after he has had a long experience, when the ardor of his passions has subsided and his head is calm and his spirit self-possessed; certain facts going to show that the performer's real feelings are different from those which he is expressing on the stage; and, finally, his best argument, and the one on which his thesis mainly rests, that one can not do two things at a time. The actor has to be observant of his playing, to regulate its effects, his gestures, and his exclamations, to see that they are correct, to keep his mind on the scene, to recollect his part. All this critical work is incompatible with sincere emotion. When a person is really moved, when he feels some great woe, while he may indeed sink upon a chair as the actor does in the scene, he does not keep watch of his attitude while falling or think how to make it expressive and harmonious, but gives himself wholly up to his trouble."- Alfred Binet, The Paradox of Diderot.
Author: Denis Diderot Publisher: Theclassics.Us ISBN: 9781230250427 Category : Languages : en Pages : 26
Book Description
This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1883 edition. Excerpt: ... The Second. I have only one more question to ask you. Thb First. Ask it. The Second. Have you ever seen a whole piece played to perfection? The First. On my word I can't remember it. Stop a bit--yes, sometimes--a middling piece by middling actors. Our two talkers went to the playhouse, but as there were no places to be had they turned off to the Tuileries. They walked for some time in silence. They seemed to have forgotten that they were together, and each talked to himself as if he were alone, the one out loud, the other so low that he could not be heard, only at intervals letting out words, isolated but distinct, from which it was easy to guess that he did not hold himself defeated. The thoughts of the man with the paradox are the only ones of which I can give an account, and here they are, disconnected as they must be when one omits in a soliloquy the intermediate parts which serve to hang it together. He said: Put an actor of sensibility in his place, and see how he will get out of the mess. What did this man do, however? He puts his foot H on the balustrade, refastens his garter, and answers the courtier he despises with his head turned on his shoulder; and thus an incident which would have disconcerted any one but this cold and great actor is suddenly adapted to the surroundings and becomes a trait of genius. He spoke, I think, of Baron, in the tragedy of the Comte d'ejsex, He added with a smile: Yes; he will tell you she feels when, her head in her confidante's bosom, almost at the point of death, her eyes turned to the third tier of boxes, she suddenly sees an old Justice, who is dissolved in tears, and whose grief expresses itself in ludicrous grimaces, when flie exclaims, ' Look up there! there's a fine face for you!' muttering..
Author: Elly Konijn Publisher: Amsterdam University Press ISBN: 9789053564448 Category : Performing Arts Languages : en Pages : 216
Book Description
Actors and actresses play characters such as the embittered Medea, or the lovelorn Romeo, or the grieving and tearful Hecabe. The theatre audience holds its breath, and then sparks begin to fly. But what about the actor? Has he been affected by the emotions of the character he is playing? What'sgoing on inside his mind? The styling of emotions in the theatre has been the subject of heated debate for centuries. In fact, Diderot in his Paradoxe sur le comedien, insisted that most brilliant actors do not feel anything onstage. This greatly resembles the detached acting style associated with Bertolt Brecht, which, in turn, stands in direct opposition to the notion of the empathy-oriented "emotional reality" of the actor which is most famously associated with the American actingstyle known as method acting. The book's survey of the various dominant acting styles is followed by an analysis of the current state of affairs regarding the psychology of emotions. By uniting the psychology of emotions with contemporary acting theories, the author is able to come to the conclusion that traditional acting theories are no longer valid for today's actor. Acting Emotions throws new light on the age-old issue of double consciousness, the paradox of the actor who must nightly express emotions while creating the illusion of spontaneity. In addition, the book bridges the gap between theory and practice by virtue of the author's large-scale field study of the emotions of professional actors. In Acting Emotions, the responses of Dutch and Flemish actors is further supplemented by the responses of a good number of American actors. The book offers a unique view of how actors act out emotions and how this acting out is intimately linked to the development of contemporary theatre.
Author: Peter G. Platt Publisher: Routledge ISBN: 1317056523 Category : Literary Criticism Languages : en Pages : 308
Book Description
Exploring Shakespeare's intellectual interest in placing both characters and audiences in a state of uncertainty, mystery, and doubt, this book interrogates the use of paradox in Shakespeare's plays and in performance. By adopting this discourse-one in which opposites can co-exist and perspectives can be altered, and one that asks accepted opinions, beliefs, and truths to be reconsidered-Shakespeare used paradox to question love, gender, knowledge, and truth from multiple perspectives. Committed to situating literature within the larger culture, Peter Platt begins by examining the Renaissance culture of paradox in both the classical and Christian traditions. He then looks at selected plays in terms of paradox, including the geographical site of Venice in Othello and The Merchant of Venice, and equity law in The Comedy of Errors, Merchant, and Measure for Measure. Platt also considers the paradoxes of theater and live performance that were central to Shakespearean drama, such as the duality of the player, the boy-actor and gender, and the play/audience relationship in the Henriad, Hamlet, As You Like It, Twelfth Night, Antony and Cleopatra, The Winter's Tale, and The Tempest. In showing that Shakespeare's plays create and are created by a culture of paradox, Platt offers an exciting and innovative investigation of Shakespeare's cognitive and affective power over his audience.
Author: Denis Diderot
Author: Denis Diderot
Author: Denis Diderot
Author: Denis Diderot
Author: Denis Diderot
Author: Denis Diderot
Author: WLATER HERRIES. POLLOCK
Author: Elly Konijn
Author: Denis Diderot
Author: Peter G. Platt
Author: Sharon Marie Carnicke