Search Results
drama. See Lucien Dallenbach, The Mirror in the Text (Chi- cago: The University of Chicago Press, 1989), pp. 7-74. Lacerated Culture, Self-Reflexive Theatre 191 theatre, it is ‘projected onto life itself, and becomes a means for gauging it.’3 Thus the play within the play is ‘conscious or
of the king’s perception of reality formed by the ritualist behaviour of court life and that of the framing, ‘real’ reality of his subjects. Taking on the Fool as its structurally most important dramatis persona, Shakespearean metadrama stages his truth as that of a fixed world order kept
longer be signified by immaterial symbols, but life itself would be manifested in its entirety through the medium of the poet, the Word made flesh, the rhythm quickened in a breathing, living form.14 Although Duncan did not perform in Italy until 1912, she had long, though quite different friendships
ance. when there is time to think over what has been seen. to come to terms with it and to relate the show to the indi\idual's own life. Indeed. a long established criterion tor a 'good' or 'interesting' perllml1lll1ee has al\.vays been its ahility to linger in the memory or the spectator: who
dialogue with the watcher in the “land of the living,” where life is not preordained in the same literal sense as theirs. Time in the world of Endgame is forever “[t]he same as usual” (13), a perpetually repeating, impossible fragment of time: HAMM: This is not much fun. (Pause.) But that’s always the way
achieved when the real world was abandoned. “As for living, our servants will do that for us,” Yeats quotes Axel’s “supreme refusal” of everyday life. Instead, Yeats sought a symbolism that was still rooted in bodily life: I am orthodox and pray for a resurrection of the body, and am certain that a man
In His Father’s Image: Biff Loman’s Struggle with Inherited Traits in Death of a Salesman Death is likely the single best invention of life. It is Life’s change agent. It clears out the old to make way for the new. [Remember that] your time is lim- ited so don’t waste it living someone else
life and death in its pure form, into literature no longer constricted by sociopolitical realities. Brief Letters (Male listy, 1982) A series of feuilletons entitled Brief Letters which Mrozek began to publish in 1974 in Dialog and reprinted in book form in 1982 is an important resource for
of these elements in a balanced combination produces the most memorable theatre experiences. One of the great ironies of the theatre is that it requires creative spontaneity while at the same time demanding absolute discipline. The successful production becomes a living theatre experience - an
the power to end their lives (Homo Sacer). Living a normal life is – in his view – possible only by main- taining the tension between the knowledge of imminent death and the feeling of hope. Camp prisoners – in order to keep their will to survive alive – had to keep the tension between the reality