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dc.contributor.authorGranzer, Susanne Valerie
dc.date.accessioned2016-12-31 23:55:55
dc.date.accessioned2020-02-13 13:09:28
dc.date.accessioned2020-04-01T14:07:23Z
dc.date.available2020-04-01T14:07:23Z
dc.date.issued2016
dc.identifier612285
dc.identifierOCN: 953609589en_US
dc.identifier.urihttp://library.oapen.org/handle/20.500.12657/32363
dc.description.abstractActing on stage is a mode of performing an action, in the context of which the bodily aspects implicitly at work in acting reveal their own significance and power. This event can actualize a wound incarnated in human beings, because the actor acts and does not act at the same time and hence the concept of being ‘the doer’ unmasks itself as being illusionary. One could call it a kind of ‘symbolic death’ (Mueller), an ‘anthropological mutation’ (Agamben)––an event of great interest because of its highly ethical call.The book “Actors and the Art of Performance. Under Exposure” opens with a cascade of contradictory motives for becoming an actor. But, if theatre is no longer understood as a theatre of representation, then what takes place on stage is a transformation at play with truth, in which ethics are realized by the aesthetic. Insofar the book summarizes the attempt to explore and map guidelines of acting as being under the perspective of be-coming. That may sound fairly harmless in theory, but it feels anything but harmless when you experience it on your own body. For example, for being physical under exposure actors have to learn that there exists no fundamental dualism between mind and matter. Furthermore, actors are espoused to a dynamic shifting ground in the name of creativity. They have to carry the burden that the self is no sovereign identity as we generally suppose, but rather a threshold of permanent be-coming. One could call it the outstanding gift of acting. In the German language, gift means “poison”, in German ears the word has the double meaning of poison and present, thus expressing the fact that a gift is disturbing and blessing at the same time. Loaded with fear and joy as the crucial point of acting, which attacks and attracts actors and spectators most.
dc.languageEnglish
dc.subject.classificationbic Book Industry Communication::H Humanities
dc.subject.otherPerforming Arts
dc.subject.otherTheatre
dc.subject.otherActing
dc.subject.otherArtistic Research
dc.subject.otherArts-based-Philosophy
dc.subject.otherPhilosophy On Stage
dc.subject.otherPerformance Philosophy
dc.subject.otherSchauspieler
dc.subject.otherTheater
dc.subject.otherPhilosophie
dc.subject.otherKorporale Performanz
dc.subject.otherKünstlerische Forschung
dc.subject.otherTheaterwissenschaft
dc.subject.otherKunst
dc.subject.otherActor
dc.subject.otherFriedrich Nietzsche
dc.titleActors and the Art of Performance
dc.title.alternativeUnder Exposure
dc.typebook
oapen.abstract.otherlanguageWird Theater nicht mehr als Repräsentation verstanden, werden im „Spiel mit der Wahrheit“ eine Fülle von Fragen über den Vollzug und das Ereignis unseres Daseins provoziert, die in einem ethischen Anspruch im Ästhetischen münden. Das klingt in der Theorie harmloser als es seinem physischen Ereignis nach ist. Denn der schöpferische Akt katapultiert SchauspielerInnen in eine Zone zwischen aktiv und passiv, in der sie nicht mehr alleinige Täter und souveräne Subjekte ihres Spiels sind.
oapen.identifier.doi10.1057/9781137596345
oapen.relation.isPublishedBy6c6992af-b843-4f46-859c-f6e9998e40d5
oapen.relation.isFundedBy26ae1657-c58f-4f1d-a392-585ee75c293e
oapen.relation.isbn9781137596345
oapen.collectionAustrian Science Fund (FWF)
oapen.imprintPalgrave Macmillan
oapen.pages131
oapen.place.publicationBasingstoke
oapen.grant.numberPUB 357
oapen.redirect1007331
oapen.remark.publicRelevant Wikipedia pages: Actor - https://en.wikipedia.org/wiki/Actor; Friedrich Nietzsche - https://en.wikipedia.org/wiki/Friedrich_Nietzsche
oapen.identifier.ocn953609589


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