Action: Anthropology in the Company of ShakespeareMuseum Tusculanum Press, 2004 - 351 pages This book is an anthropological study of play-acting. Acting on the stage is seen as an example of social action in general. The focus is on the playing of Shakespeare, and on the players' use of and reflections upon time, space, plot, and acting. In her new book, Kirsten Hastrup aims at a renewed understanding of action and motivation within any social setting. By listening to such experts of action as the players of Shakespeare, we achieve a comprehensive reappraisal of current notions of human agency. In the process, we are offered a set of methodological tools and analytical concepts that may enrich future anthropological analysis of individual actions in their social context. The work is an unprecedented approach to action and acting. For anthropologists and other social or cultural scientists, Hastrup offers a fresh perspective on performance, and on the construction of the analytical object. For theatre historians and dramatists, the combination of detailed (ethnographic) analys |
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Page 115
... thing of movement , even as music is , and obedient to much the same laws ; and the clock and the calendar are merely among the means by which this movement is made expressive ' ( Granville - Barker 1993 : 55 ) . In Hamlet , neither the ...
... thing of movement , even as music is , and obedient to much the same laws ; and the clock and the calendar are merely among the means by which this movement is made expressive ' ( Granville - Barker 1993 : 55 ) . In Hamlet , neither the ...
Page 158
... thing itself ( Brook 1989 : 76 ) . My discussion of the plot must be seen in that light ; it is not a literary exercise , but a venture into the plotspaces of human action on stage - the thing itself . The teller of tales Shakespeare ...
... thing itself ( Brook 1989 : 76 ) . My discussion of the plot must be seen in that light ; it is not a literary exercise , but a venture into the plotspaces of human action on stage - the thing itself . The teller of tales Shakespeare ...
Page 189
... things , the thing in itself , and the entire world of phenomena ; and just as tragedy , with its metaphysical consolation , points to the eternal life of that core and the constant destruction of phenomena , the symbolism of the satyr ...
... things , the thing in itself , and the entire world of phenomena ; and just as tragedy , with its metaphysical consolation , points to the eternal life of that core and the constant destruction of phenomena , the symbolism of the satyr ...
Contents
Preface and acknowledgements | 7 |
Companion Shakespeare | 13 |
The plot | 36 |
Copyright | |
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acting actor Simon Callow actress agency agents ambiguity audience Barba become character character's Cicely Berry context created cultural desire direct director Peter drama Elizabethan emotions event experience expression feeling Fiona Shaw Gielgud Granville-Barker Hamlet human illusion imagination individual intention Jane Lapotaire Juliet Stevenson Kermode language liminal listen living lyric magic mask meaning metaphor Michael Pennington Michael Redgrave mimesis motive nature Nicholas Woodeson notion Ophelia particular passion performance person Peter Brook players and directors players of Shakespeare playwright plot poetic poetry present production reality reflects rehearsal Renaissance rhythm Rosalind Royal Shakespeare Company says scene seems sense Shakespeare's plays Shakespeare's theatre shared Simon Callow Simon Russell Beale simply social space soliloquy speak spectator speech stage Stanislavski story suggested T.S. Eliot theatre of action theatrical thing tragedy Troilus and Cressida truth understanding voice whole words world of theatre