By Nicholas Ridout
Why do actors get degree fright? what's so embarrassing approximately becoming a member of in? Why now not paintings with animals and youngsters, and why is it so demanding to not cave in into helpless laughter while issues get it wrong? In attempting to solution those questions - frequently missed by means of theatre scholarship yet of putting up with curiosity to theatre execs and audiences alike - Nicholas Ridout makes an attempt to provide an explanation for the connection among those it seems that undesirable and anomalous phenomena and the broader social and political meanings of the fashionable theatre. The e-book makes a speciality of the theatrical come upon - these occasions within which actor and viewers come nose to nose in a surprisingly compromised and alienated intimacy - arguing that the trendy theatre has develop into a spot the place we entertain ourselves via experimenting with our emotions approximately paintings, social kinfolk and approximately emotions themselves.
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Additional resources for Stage Fright, Animals, and Other Theatrical Problems (Theatre and Performance Theory)
I cried, applauding him in delight, “I should believe it from any stranger, it is so very likely. ’s sense of himself as performer is over-emphatically confirmed by the outbreak of applause. Applauding someone you are talking to strikes a deliberate false note. ’ you are saying. Irony reigns. You turn your interlocutor into an actor. If someone is trying to persuade you that something is true, and you applaud, you are admiring the performance of persuasion rather than conceding the truth of that of which you are being persuaded.
In undoing itself, the mise en sce`ne that is Kleist’s argument undoes the aesthetic, by hinting, darkly, that similar structures might operate more widely than we would like to believe. The persistence of theatre is due, perhaps, to the peculiar pleasures that are taken when these undoings reveal themselves. These pleasures are the subjects of the chapters that follow. The choice of these subjects, and the experiences that animate them, has been guided both by my own sense, in the theatre, that these are the distinctively theatrical experiences, and by the hints, derived from Kleist, that theatre is all about face-to-face encounters, that animals (and children) belong on the stage in ways that make strange our sense that it is an adult human business, that sexual and economic exploitation Introduction 29 are always on the scene, and that, above all, it is when it goes wrong, falls short of grace, that theatre is most itself.
He needs to free himself from some kind of compulsion. Is the hole sucking him in, tempting him to a plunge across the row of footlights and into . . the pit? There is both attraction and repulsion in this encounter; push and ‘pull’. His technique for resisting this compulsion is to try not to think about it, to put the ‘awful hole’ from his mind. This has the predictable effect of intensifying the whole ghastly experience. He helps a workman pick up some nails and starts to experience ‘the very pleasant sensation of being at home on the big stage’.
Stage Fright, Animals, and Other Theatrical Problems (Theatre and Performance Theory) by Nicholas Ridout