Acting after Grotowski
Theatre's Carnal Prayer
Kris Salata
- 134 «pägés»
- English
- «éPÜB (möbïlé fřïéñdly) Ñ ω É»
- «Äväïläblé öñ ïÖS & Äñdřöïd Ü ü Ä»
Acting after Grotowski
Theatre's Carnal Prayer
Kris Salata
«Äböüt Thïs Böök ö ñ»
For whom does the actor perform? To answer this foundational question of the actor's art, Grotowski scholar Kris Salata explores acting as a self-revelatory action, introduces Grotowski's concept of "carnal prayer, " and develops an interdisciplinary theory of acting and spectating.
Acting after Grotowski: Theatre's Carnal Prayer attempts to overcome the religious/secular binary by treating "prayer" as a pre-religious, originary deed, and ultimately situates theatre along with ritual in their shared territory of play.
Grounded in theatre practice, Salata's narrative moves through postmodern philosophy, critical theory, theatre, performance, ritual, and religious studies, concluding that the fundamental structure of prayer, which underpins the actor's deed, can be found in any self-revelatory creative act.
Frequently asked questions
«Iñföřmätïöñ É»
«Täblé öf çöñtéñts ç é»
- Cover
- Half Title
- Endorsements
- Title Page
- Copyright Page
- Dedication
- Table of Contents
- Acknowledgments
- Preface
- Introduction
- 1 Grotowski’s carnal prayer
- 2 Two performances of prayer
- 3 The rhizome of working points
- 4 For whom should I perform?
- 5 On prayer
- 6 The event of the encounter, the event of prayer
- Epilogue
- Select bibliography
- Index