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-Aristotelian” (O’Sullivan 49). 5 Aristotle’s general understanding of “necessity” is one of causality in a more general sense rather than motivated by moral teaching: Necessity is that because of which a thing cannot be otherwise; and the same is true of the concomitant conditions of living and of the good

In: Reflections on Fictionality
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denial of his true self, or at least what he is capable of being, encourages us to see Hercules as a humble man. Indeed, this notion is formulated early in the film, when Hercules sits in a tavern discussing his dreams in life. He declares that he is looking for one more job, to make enough money so that

In: Brill's Companion to Ancient Greek and Roman Warfare on Film

instead of a chronological order. It begins with a longer depiction of the Macedonian king’s death that leads Ptolemy, the film’s narrator, to recall the events of Alexander’s fascinating life, starting with the battle of Gaugamela. Placed right at the beginning of the film, this battle carries political

In: Brill's Companion to Ancient Greek and Roman Warfare on Film

viewers to develop an emotional connection with the characters who cross their swords and risk their lives fighting on screen. To put it differently, reenactments of battles reinforce the impression of re-witnessing and re-living the past. On the other hand, they are a major source of entertainment, often

In: Brill's Companion to Ancient Greek and Roman Warfare on Film

motivated by the different approaches pursued by the two translations of his works: by the Swiss-Jewish film actor and director, Pinkas Braun (1923–2008), and by the German writers, Alissa (1961–) and Martin Walser (1927–). Albee’s plays have become a benchmark for dramatic innovation in the latter half

In: Albee Abroad
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challenges to a filmmaker embarking on a project about Alexander the Great. 5 First, it is the final set battle of his eastern campaign and of his life. 6 To include it at all prompts the filmmaker to mark that finality in some fashion. 7 Both directors do this through the depiction of the most intense

In: Brill's Companion to Ancient Greek and Roman Warfare on Film

find romances, musicals, and the comedies called dei telefoni bianchi , all of which depict a central European aristocracy non-existent in real life. After 1945, there is a turn to real life, demonstrated by the movement of Neorealism, which signaled the beginning of a second golden age for Italian

In: Brill's Companion to Ancient Greek and Roman Warfare on Film
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deviated from all the recurrent aesthetics seen in the Brazilian stages until that instant, and their unexpected similarities motivated Magaldi to name them “A Nova Dramaturgia Brasileira,” or The New Brazilian Dramaturgy. Such consonances resonated with other critics as well, and as decades passed, these

In: Albee Abroad
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the last sliver of Saartjie Baartman’s labia into her mouth” ( Awerbuck 2012 : loc. 2772). Viola’s act of ingestion is her ultimate act of re-embodying Baartman: rather queerly, she takes Sarah’s body into her own, mingling death and life to make herself a living memorial. But her fixation on Sarah

In: Black Neo-Victoriana
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a professional actor on this next project. The Conscious Craft model opened a space for examining the extent to which ctp ’s objective of presenting real life stories could be negotiated. The play is autobiographical in the sense that the script draws inspiration from a ‘real life’ relationship. In

In: Conscious Theatre Practice