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2 comments:
We chose this example because of the pragmatic "label" surrounding the transmission of stories and whose anthropology diligently transmitted to us. See: Clasters P. Le grand Parler. Mythes et chants sacres des Indiens Guarani. Paris: Seuil, 1974.
80 About narratology, which introduces the analysis of the pragmatic dimension, see Tr.Well.Geneta: Genette G. Figures III. Paris: Seuil, 1972.
here we come to the main differences, on the one hand,
delimited text from an actor, on the other, giving the work a truly
creative assessment. "The text just a little, in the strict sense, the material of the actor,
like "the sitter" -- material painter... Your material actor
puts creative formation, when he turns to his voice,
intonation, recitation, gesture, facial expressions, figure, word, to his "mask-face"
(persona)" (P. 85).
He further traces the types of becoming a hero in the case of literature and
the case of the theatre. The Central difference of the image of the reader and viewer
he sees the following: in a literary work it is possible to obtain the image of a hero
to the middle or the end of the novel, in the drama the actor obliged immediately to give
image as a whole. By the way, this is another difficulty of the work of the actor and
accordingly -- its creative.
G. Shpet removes another typical objection, which States that
the actor just imitates life situation, therefore, does not
can be creativity. No, says G. Shpet, actor "conditionally
depicts the character, not copy of any valid
subject. He creates imaginary persons themselves. The writer not only
this does not, and does not help him in this" (p. 86). Note
emerged even protivopolojnosti work of both, which certainly
not correspond to the typical idea of the role of the actor as successor
the work of the writer.
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