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Theatrical Emotion: a Less Noble Approach
Umeå University, Faculty of Arts, Department of culture and media studies. (UCGS (Umea Center for Gender Studies))
2009 (English)In: 2009 IFTR Conference:"Silent Voices Forbidden Lives: Censorship and Performance" : Lisboa, Portugal, July 12-18th / [ed] Maria Helena Serodio, Guitherme, Filipe, Centro de Estudos de Teatro: Impresso em Julho pela Multi Artes Grafias , 2009, 1-5 p.Conference paper (Refereed)
Abstract [en]

Imagine that you have two options of comparing THE MODERN actor, either to an airplane, or to a perfume-bottle.1Where the airplane is a symbol of rationality, enlightenment, science, efficiency and reason. And where the perfume-bottle is a symbol of desire, longing, craving, affect, dreams, appearance and surface. The modern actor as either a fast and fierce airplane, or, a nice smelling, nice looking perfume bottle!

1Not to make things unnecessary complicated, having in mind the debate of the origins of modernism, I date the breakthrough of modern acting to the first half of the 1900, to first and foremost Stanislavski, but also to some of his contemporaries. 

Place, publisher, year, edition, pages
Centro de Estudos de Teatro: Impresso em Julho pela Multi Artes Grafias , 2009. 1-5 p.
Keyword [en]
emotions, gender
National Category
Performing Art Studies
URN: urn:nbn:se:umu:diva-45930OAI: diva2:436218
FIRT/IFTR International Federation for Theatre Research Annual Conference in Lisboa, Portugal
Available from: 2011-08-31 Created: 2011-08-22 Last updated: 2011-08-31Bibliographically approved

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