Related Papers
Assertion and Subversion in Saul Bellow's Herzog with Special reference to Women Characters
IJIRT Journal
This paper deals with the manner in which Saul Bellow asserts and subverts in Herzog with the help of major women who come in the life of Herzog. The Jewish identity of Bellow thus gives him a subtle freedom to project the deep intricacies of the Jewish women characters in this work. These women characters play a major role in his journey towards maturation and imbibing in him a new understanding of the reality and meaning of life. This renders Herzog with a better healing after his traumatic divorce with Madeline after which life has seemed meaningless to him. But he realises that life is a panorama of ups and downs and victory lies in acceptance of situations of our life that we can't change. Women in his life teach him this simple reality of life.
The Art of Control:
Jamal Assadi
Abstract So wide-ranging is Bellow's employment of the acting image and hence of personas in Herzog that references to stage, acting and script-writing are dispersed everywhere in the novel. A vigilant study of this image reveals that the mutual relationships and social encounters of major characters bear on dramatic scenes written, directed, and performed by the characters themselves. But what does Bellow try to discover through the medium of acting and hence persona? How is it reflected in his treatment of his main themes and characters? And does it affect the narrative point of view? In order to understand the image more deeply and answer these questions, I will study it in relation to three groups of characters: first, Madeleine, Gersbach, and some of Herzog's friends; second, Ramona (the newest girl friend) and his parents and relatives; and third, Herzog, the versatile actor-audience and the ever writer of the unsent letters or the multiple character.
Estetica. Studi e ricerche
What Is It like to Be in the Land of Darkness and Silence? Werner Herzog and the Paradox of Representing the Unrepresentable
2020 •
Paolo Stellino
Although Land of Silence and Darkness is a film that explores fundamental themes of Herzog's cinema, it has thus far received relatively little critical attention. Drawing on the few previous studies dedicated to it, the aim of this paper is to show how this film addresses a central philosophical question: is it possible to experience the other's otherness? In particular, Herzog engages with the question of the extent to which it is possible for a sighted person to imagine what it is like to be deaf and blind. The following defends the thesis that, although the experience of deaf-blindness is incommunicable and inaccessible to sighted people, and although all representations of it are inadequate, both Herzog, through the cinematographic medium, and Fini Straubinger, through metaphorical and poetic language, attempt to convey certain aspects of this experience.
Essay Introduction to Theatre
Giulia Batista Fabiano
CINEJ Cinema Journal
Inner and deeper: Motifs of fiction in Werner Herzog's films
2019 •
Chantal Poch
The emphasis on the mix of facts and inventions has prevailed in the studies about Bavarian director Werner Herzog's treatment of fiction, leading to the same result again and again: for Herzog, poetic truth is more important than factual truth. But how can we go beyond this conclusion? This paper will try to open an alternative path of analysis more adequate to his philosophy of filmmaking, one that works through the detection of visual and narrative motifs in his films, thus searching the impact of Herzog's idea of fiction into his poetics.
"Travel and Imagination", Edited by Garth Lean, Russell Staiff and Emma Waterton: 139-148
'‘Where all the Lines of the Map Converge’: Werner Herzog’s Ekstatic Imagination and Performative Thresholds'
2014 •
Gabriella Calchi Novati
Studia Universitatis Babes-Bolyai-Studia Dramatica
L'acteur dans le theatre virtuel. Jeu theatral et filmique/video dans les projets virtuels de mark reaney: The Adding Machine et Wings
2007 •
Ozana Budau
Zwischen Harmonie und Konflikt. Paarbeziehungen im europäischen Theater des 20. und 21. Jahrhunderts
Interpersonal relationships as a subject of multi-faceted reflection in the spectacle The Prologue of a Comedy
2020 •
Katarzyna Kułakowska
My paper's purpose is to analyse The Prologue of a Comedy —scenes between Poetry and a Documentary (2010). The performance is an extraordinary venture considering interpersonal relations not only in the theme layer of the spectacle, but also during the creation of the script, and then during the actors’ rehearsal. The script of the performance, created by the actresses of the Węgajty Theater, Zofia Bartoszewicz and Erdmute Sobaszek, was written based on passages from the Nobel Prize winner’s, Wisława Szymborska’s poetry and writings of Anna Wojtyniak, a senior living in the neighbouring village of Węgajty. Corresponding verses of both poets stay in an inseparable relation: "They enrich each other, enter into a double voice, and sometimes separate into two echoes that match each other. The actresses dedicate their performances to these small narratives, unheard microhistory. “The Prologue of a Comedy is dedicated to the marginalized people, to those who did not win the competition, because they did not want to participate in it”, they declare in the program text. While transforming their memories in the performative form, Erdmute and Zofia create a women’s theatre of remembrance: an unusual archive that accommodates the most secret experience, a special cabinet of peculiarities in which people and interpersonal relationships, so far pushed to the margins of view, become visible.
The Actor and the Stage Writing
lorenzo mango
The Three Bodies of Narration: A Cognitivist Poetics of the Actor’s Performance
Héctor J. Pérez
The purpose of this article is to take a cognitivist approach to achieve an adequate understanding of the actor’s performance as a narrative an aesthetic factor. By way of introduction, a context is offered that explains what the actor’s performance has nearly always been considered in audiovisual works and previously in theatre, as something separate from the narration, a category reserved for diegesis. This is followed by a presentation of the general cognitivist conception as the most suitable approach to achieve this purpose, based on the central features of the concept of recognition, from which arises the central proposal of viewing actors as generators of the spectator’s attention, which is the first necessary condition for any story. The central part of the article is concerned with presenting the three main modes in which the actor’s presence arouses the spectator’s attention, elucidated with examples and an explanation of their narrative scope in each case. First, the value of the body in eliciting the neutral attention of the spectator to the character; secondly, the value of the exceptionality of the body in pertinent increments of spectator interest, which give rise to the emotions that are central to cognitivism, such as sympathy and empathy, which are thus determining factors in narrative processes; and finally, the article takes up one of the main debates in the field to offer an alternative to cognitivism and the main outcome of this research: acting, in its artistic sense, generates attention and emotions comparable with the most widely debated moral factors, such as allegiance. It is thus valid to consider that the actor’s performance as an artistic practice is the element with the greatest narrative depth insofar as it constitutes the stablest basis for the spectator’s attention.
