By T. Maguire
This ebook explores the best way the modern proliferation of different types of storytelling perform in overseas theatre has created a particular set of functionality practices. Texts and performers mentioned comprise cut up Britches, Billy Connolly, Anna Deavere Smith's permit Me Down effortless, Spalding grey, David Hare's through Dolorosa
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This ebook explores the best way the modern proliferation of sorts of storytelling perform in foreign theatre has created a particular set of functionality practices. Texts and performers mentioned comprise break up Britches, Billy Connolly, Anna Deavere Smith's enable Me Down effortless, Spalding grey, David Hare's through Dolorosa
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Extra info for Performing Story on the Contemporary Stage
While impact may be registered through both description and evaluation (Maguire 2011), the manner of telling and the ways in which it is coded signal to the spectator how she is intended to understand their import. Consider how someone might report falling on ice, where they have not sustained any significant injury. This may be presented as something which is serious, with the expectation that the listener attend to the teller with a degree of sympathy for the injury to her dignity, if nothing else.
Naming Perhaps the most straightforward method for representing a character in a story is to name her. Fischer-Lichte suggests that in theatre, ‘a name must fulfill two basic functions: (1) it makes the named person part or element of a symbolical order – of the language as well as the society; and (2) by this very act it identifies the Embodying Character in Storytelling 47 person as an individual part or element of that symbolical order in question’ (1997, 291). Where names refer to known people, this individuation and the place of the character within wider symbolic orders (economic, political and cultural, for example) are quickly achieved.
3 Embodying Character in Storytelling The symbolic relationship between what is presented and what it represents within the storyworld is particularly important when it comes to the depiction of the subjects of the story, the story figures or characters. 1 As Birch observes, characterisation is achieved through both verbal and non-verbal means (1996, 119). I examine the relationship between these modes of representation and the ways in which they operate together, proposing that strategies of characterisation are fundamentally metonymic.