of the metaphor of life as theater. There is no longer any religious dimension linked to it, nor is there the courtly inspired concept of the necessity of simulation and dissimulation. In anticipation of phenomena observable in ...
Author: Elena Penskaya
Publisher: Walter de Gruyter GmbH & Co KG
Category: Foreign Language Study
The papers of the present volume investigate the potential of the metaphor of life as theater for literary, philosophical, juridical and epistemological discourses from the Middle Ages through modernity, and focusing on traditions as manifold as French, Spanish, Italian, German, Russian and Latin-American.
Playhouse and Cosmos systematically and comprehensively describes the function of theater and role-playing as metaphors in Shakespearean drama.
Author: Kent T. Van den Berg
Publisher: University of Delaware Press
Category: Literary Criticism
Playhouse and Cosmos systematically and comprehensively describes the function of theater and role-playing as metaphors in Shakespearean drama. The author examines this metaphor's revelatory and liberating power and concludes by affirming, with Shakespeare, the creative power of theatricality in life and in art.
We have met this dream world often enough in the course of reading plays about the world as theater , for it is the nature of the tradition , as Ortega y Gasset or Artaud sense it , to construct the two metaphors as polar attractions ...
Author: Jackson I. Cope
Publisher: Baltimore : Johns Hopkins University Press
28 Although he described the ambassador's work as entailing the “representation” of his monarch and the manipulation of speech to persuade his foreign interlocutors, Hotman insisted that the theatrical metaphor was insufficient to ...
Author: Ellen R. Welch
Publisher: University of Pennsylvania Press
The seventeenth-century French diplomat François de Callières once wrote that "an ambassador resembles in some way an actor exposed on the stage to the eyes of the public in order to play great roles." The comparison of the diplomat to an actor became commonplace as the practice of diplomacy took hold in early modern Europe. More than an abstract metaphor, it reflected the rich culture of spectacular entertainment that was a backdrop to emissaries' day-to-day lives. Royal courts routinely honored visiting diplomats or celebrated treaty negotiations by staging grandiose performances incorporating dance, music, theater, poetry, and pageantry. These entertainments—allegorical ballets, masquerade balls, chivalric tournaments, operas, and comedies—often addressed pertinent themes such as war, peace, and international unity in their subject matter. In both practice and content, the extravagant exhibitions were fully intertwined with the culture of diplomacy. But exactly what kind of diplomatic work did these spectacles perform? Ellen R. Welch contends that the theatrical and performing arts had a profound influence on the development of modern diplomatic practices in early modern Europe. Using France as a case study, Welch explores the interconnected histories of international relations and the theatrical and performing arts. Her book argues that theater served not merely as a decorative accompaniment to negotiations, but rather underpinned the practices of embodied representation, performance, and spectatorship that constituted the culture of diplomacy in this period. Through its examination of the early modern precursors to today's cultural diplomacy initiatives, her book investigates the various ways in which performance structures international politics still.
--Process Studies"It is one of the American classics.--Human Studies
Author: Bruce Wilshire
"[Wilshire] establishes a phenomenology of theatre, a theory of enactment, and a theory of appearance, none of which American theatre... has ever had." —Performing Arts Journal "... Wilshire makes unique contributions to understanding major aspects of the human condition in its necessary search for selfhood." —Process Studies "It is one of the American classics." —Human Studies
The theoretical scope of the book is developed from a wide range of case studies, some of which are re-readings of the classics of theatre history (Appia, Meyerhold, Artaud, Beckett), while others introduce or rediscover less-discussed ...
Author: David Roesner
Publisher: Lund Humphries Publishers
As the complicated relationship between music and theatre has evolved and changed in the modern and postmodern periods, music has continued to be immensely influential in key developments of theatrical practices. In this study musicality in the theatre, David Roesner offers a revised view of the nature of the relationship. The new perspective results from two shifts in focus: on the one hand, Roesner concentrates in particular on theatre-making - that is the creation processes of theatre - on the other, he traces a notion of 'musicality' in the historical and contemporary discourses as driver of theatrical innovation and aesthetic dispositif, focusing on musical qualities, metaphors and principles derived from a wide range of genres.Roesner looks in particular at the ways in which those who attempted to experiment with, advance or even revolutionize theatre often sought to use and integrate a sense of musicality in training and directing processes and in performances. His study reveals both the continuous changes in the understanding of music as model, method and metaphor for the theatre and how different notions of music had a vital impact on theatrical innovation in the past 150 years. Musicality thus becomes a complementary concept to theatricality, helping to highlight what is germane to an art form as well as to explain its traction in other art forms and areas of life. The theoretical scope of the book is developed from a wide range of case studies, some of which are re-readings of the classics of theatre history (Appia, Meyerhold, Artaud, Beckett), while others introduce or rediscover less-discussed practitioners such as Joe Chaikin, Thomas Bernhard, Elfriede Jelinek, Michael Thalheimer and Karin Beier.
A New Metaphor: An organization is like a theater company that “changes the play” We will be using a new metaphor, the theater company. After searching for a decade or so, the theater metaphor popped out, and it was just the ticket to ...
Author: Deborah Salvo
Publisher: Xlibris Corporation
Category: Business & Economics
With 70% of change projects not meeting management expectations, can we conclude that the current way of doing change management works well (or even works at all)? Do we need a New Way to make organizational change happen? Yes, it is time. This book identifies ten new ways that can be used to make change management more effectively and efficiently. One of the ten ways is the use of the theater metaphor. If you want to change a play, you must start by selecting and communicating a new script to your theater company. If you want to change an organization, you must start by communicating to organization members a new vision of where the organization needs to be at some future time. If you want to change the play, you must put actors under contract for the new play and rehearse them until they can perform their roles perfectly. If you want to change an organization, workers must be under agreement to perform to new job descriptions and goals and be trained in new work processes and new technology. And so it goes Using your life-long familiarity with the idea of a "play, you will be able to make organizational change happen flawlessly. This book will show you how to excel at leading change, from either a management position or from an assignment as a change professional. This book is designed to put managers and change professionals "on the same page for leading change, using simple practical ideas and metaphors, backed by proven bodies of knowledge from management, the behavioral sciences and the theater. "You dont have to be afraid of change any longer! Dutchs work offers entertaining and simple solutions that will help you move swiftly and efficiently through the growing pains of organizational change. Ken Blanchard, author of The Secret and The One Minute Manager.
... Marx places on class struggle as the decisive factor in the movement of history and his recourse to a metaphor drawn from the world of theater, a metaphor he extends throughout the three texts that provide the focus of this chapter.
Author: Mark Steven
Publisher: Bloomsbury Publishing USA
Category: Literary Criticism
A concentrated study of the relationships between modernism and transformative left utopianism, this volume provides an introduction to Marx and Marxism for modernists, and an introduction to modernism for Marxists. Its guiding hypothesis is that Marx's writing absorbed the lessons of artistic and cultural modernity as much as his legacy concretely shaped modernism across multiple media.