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Author: Zahava Caspi

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

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In: The Play within the Play

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

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In: The Play within the Play
Author: Peter Eversmann

­ 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

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In: Theatrical Events
Author: Michael Guest

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

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In: Samuel Beckett’s Endgame

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

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In: Arthur Miller's Death of a Salesman
Author: Patsy McCarthy

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

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In: Page to Stage
Author: J.J. Peereboom

for fam- iliarity, even if one can occasionally manage to be in London at the right time for one of them. It is worth realizing that as a consequence one's pref- erences among the plays may be more verbally motivated than they would be if one had seen them performed. The Woods could possibly sound

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In: New Essays in American Drama

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

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In: Performative Body Spaces
Author: Theo Malekin

something broader than suffering; it refers to a general sense of dissatisfaction in mundane living (Harvey 2003: 47-60). Thus the Bill- Poster who has waited all his life for a green fishing box and net finds that the fulfilment of his desire gives way to dissatisfaction. Desire and attachment lie at

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In: Strindberg and the Quest for Sacred Theatre

Awakening the Performing Body 148 Mind and Will; mind controls life and life controls matter.3 Perhaps because he was living in Russia at the same time as the emergence of these esoteric and philosophical developments, Stanislavsky’s acting system relied heavily on the ability of the actor to imagine a

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In: Awakening the Performing Body