Actors and the Art of Performance: Under Exposure by Susanne Valerie (auth.) PDF

By Susanne Valerie (auth.)

Actors and the paintings of functionality: below Exposure combines the author’s major biographical paths: her specialist dedication to the fi elds of either theater and philosophy. The artwork of performing on level is analyzed right here not just from the theoretical standpoint of a spectator but additionally from the viewpoint of the actor. the writer attracts on her adventure as either a theater actor and a school professor whose teachings within the paintings of performing depend seriously on her personal event and in addition on her philosophical wisdom. The publication is exclusive not just by way of its content material but in addition by way of its type. Written in a multiplicity of voices, the textual content oscillates among philosophical reasoning and narrative different types of writing, together with micronarratives, fables, parables, and inter alia by way of Carroll, Hoff mann, and Kleist. consequently the publication claims transdisciplinary discussion among the paintings of performing and the paintings of philosophical pondering demands a classy examine that questions and starts off to hunt choices to often confirmed and ingrained codecs of philosophy.

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For this reason, kairos not only had a practical meaning for the ancient Greeks but also an aesthetic meaning. As a measure it creates symmetry, beauty; it brings parts together, harmonia. It is a cut in the flow of chronos. In separating time it creates rhythm and thus harmonizes time that moves in different directions. 0007  Actors and the Art of Performance Finding words, emptying words. Finding meaning, emptying meaning. Magic play in the playing field of being-in-the-world. One of the first words a child learns to spell, a word that stands proudly in all school notebooks, is the word “I”.

By chance. As if by accident. In one instant pushed to the margins, the seams. An unnamed in-between. Between the lines, between the cracks, between the borders. 15 Jean-Luc Nancy says in Corpus, The a-part-self as departure is what’s exposed. “Exposition” doesn’t mean that intimacy is extracted from its withdrawal, and carried outside, put on display. “Exposition,” on the contrary, means that expression itself is an intimacy and a withdrawal. The a-apart-self is [ ... ] this vertiginous withdrawal of the self from the self that is needed to open the infinity of that withdrawal all the way up to self.

5 Kairos, which stems from keiro (cut off) is related to krinein (separate, decide, judge). The substantive of krinein is krisis. Krisis is separation, a turning point. Kairos is time (chronos) cut in two halves, a before and an after. It is the middle (metrion) of time. Kairos as the crisis of chronos is a measure of time in the sense of kriterion and metrion. As a measure of time, kairos itself cannot be measured. For this reason, kairos not only had a practical meaning for the ancient Greeks but also an aesthetic meaning.

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