語系:
繁體中文
English
說明(常見問題)
回圖書館首頁
手機版館藏查詢
登入
回首頁
到查詢結果
[ subject:"Theater." ]
切換:
標籤
|
MARC模式
|
ISBD
Actor, stage figure, and dramatic ch...
~
University of Toronto (Canada).
FindBook
Google Book
Amazon
博客來
Actor, stage figure, and dramatic character semiosis in Michael Chekhov's theatre practice and theory.
紀錄類型:
書目-語言資料,印刷品 : Monograph/item
正題名/作者:
Actor, stage figure, and dramatic character semiosis in Michael Chekhov's theatre practice and theory./
作者:
Meerzon, Iana.
面頁冊數:
290 p.
附註:
Source: Dissertation Abstracts International, Volume: 66-10, Section: A, page: 3511.
Contained By:
Dissertation Abstracts International66-10A.
標題:
Theater. -
電子資源:
http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=NR07872
ISBN:
9780494078723
Actor, stage figure, and dramatic character semiosis in Michael Chekhov's theatre practice and theory.
Meerzon, Iana.
Actor, stage figure, and dramatic character semiosis in Michael Chekhov's theatre practice and theory.
- 290 p.
Source: Dissertation Abstracts International, Volume: 66-10, Section: A, page: 3511.
Thesis (Ph.D.)--University of Toronto (Canada), 2003.
The thesis examines Michael Chekhov's acting technique, rooted in the aesthetics of Modernism, in its search for a new man and a new actor. The Prague School semiotics provides a tool to translate Chekhov's metaphysically sounding terminology into the terms of contemporary performance studies. This study analyzes Chekhov's views on actor/character relationships and actor's characterization technique synchronically and diachronically. It demonstrates that Chekhov's inclusive acting theory combines not only the knowledge of past but also the signs of future.
ISBN: 9780494078723Subjects--Topical Terms:
522973
Theater.
Actor, stage figure, and dramatic character semiosis in Michael Chekhov's theatre practice and theory.
LDR
:03189nam 2200253 a 45
001
858419
005
20100712
008
100712s2003 ||||||||||||||||| ||eng d
020
$a
9780494078723
035
$a
(UMI)AAINR07872
035
$a
AAINR07872
040
$a
UMI
$c
UMI
100
1
$a
Meerzon, Iana.
$3
1025471
245
1 0
$a
Actor, stage figure, and dramatic character semiosis in Michael Chekhov's theatre practice and theory.
300
$a
290 p.
500
$a
Source: Dissertation Abstracts International, Volume: 66-10, Section: A, page: 3511.
502
$a
Thesis (Ph.D.)--University of Toronto (Canada), 2003.
520
$a
The thesis examines Michael Chekhov's acting technique, rooted in the aesthetics of Modernism, in its search for a new man and a new actor. The Prague School semiotics provides a tool to translate Chekhov's metaphysically sounding terminology into the terms of contemporary performance studies. This study analyzes Chekhov's views on actor/character relationships and actor's characterization technique synchronically and diachronically. It demonstrates that Chekhov's inclusive acting theory combines not only the knowledge of past but also the signs of future.
520
$a
Chapter 1 introduces Russian Modernism as the cultural background for the development of Chekhov's personality and ideas on acting. Chapter 2 analyzes Chekhov's technique as an inclusive model in the context of the 20 th century theatre practice: from Stanislavsky to Laban. Chapter 3 presents the Prague School concepts of the tripartite structure of an acting sign and stage figure. It exposes the origins of these notions within the Aristotelian and Diderot's modes of thinking and within the context of Ferdinand de Saussure's structural linguistics, Husserl's phenomenology, and Buhler's communication theory. Chapter 4 confronts Michael Chekhov's ideas on a stage mask, atmosphere, usage of imaginary body and imitation with the Prague School theatre semiotics, touching upon its perception theory. Chekhov's archetype and Psychological Gesture are looked at in the context of Proppean morphology that is close to Buhler's ideas on communication and Prague Linguistic Circle aesthetics. Chapters 5 and 6 concentrate on Chekhov's acting experience. Chapter 5 analyzes the 1924 Moscow Art Theatre Second's production of Hamlet. It reviews the Hamlet archetype as a phenomenon of Russian cultural consciousness focusing on Chekhov's stage figure, in which he introduces a new vision of the Russian tragic actor. Chapter 6 discusses the concept of the film figure applied to Chekhov's acting in film ( A Man from the Restaurant 1927; Spellbound 1945). It extends the theoretical framework of the thesis and describes Chekhov's screen acting as the application of his experiments on stage. Finally, this dissertation stresses the semiotic nature of Chekhov's practice and theory listing a number of themes for future research on the development of acting in its historical and theoretical dimensions.
590
$a
School code: 0779.
650
4
$a
Theater.
$3
522973
690
$a
0465
710
2
$a
University of Toronto (Canada).
$3
1017674
773
0
$t
Dissertation Abstracts International
$g
66-10A.
790
$a
0779
791
$a
Ph.D.
792
$a
2003
856
4 0
$u
http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=NR07872
筆 0 讀者評論
館藏地:
全部
電子資源
出版年:
卷號:
館藏
1 筆 • 頁數 1 •
1
條碼號
典藏地名稱
館藏流通類別
資料類型
索書號
使用類型
借閱狀態
預約狀態
備註欄
附件
W9073292
電子資源
11.線上閱覽_V
電子書
EB W9073292
一般使用(Normal)
在架
0
1 筆 • 頁數 1 •
1
多媒體
評論
新增評論
分享你的心得
Export
取書館
處理中
...
變更密碼
登入