1 1000 2 https://oer.usk.ac.id/files/original/f1e585f05448aa99c1c9a35e80e86518.pdf 8061eb9c20faa10cc5b2b87c1fbcf65d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 700 The Arts Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Actors and the Art of Performance : Under Exposure Subject The topic of the resource the Art Performance Description An account of the resource Acting on stage is a mode of performing an action, in the context of which the bodily aspects implicitly at work in acting reveal their own significance and power. This event can actualize a wound incarnated in human beings, because the actor acts and does not act at the same time and hence the concept of being ‘the doer’ unmasks itself as being illusionary. One could call it a kind of ‘symbolic death’ (Mueller), an ‘anthropological mutation’ (Agamben)––an event of great interest because of its highly ethical call.The book “Actors and the Art of Performance. Under Exposure” opens with a cascade of contradictory motives for becoming an actor. But, if theatre is no longer understood as a theatre of representation, then what takes place on stage is a transformation at play with truth, in which ethics are realized by the aesthetic. Insofar the book summarizes the attempt to explore and map guidelines of acting as being under the perspective of be-coming. That may sound fairly harmless in theory, but it feels anything but harmless when you experience it on your own body. For example, for being physical under exposure actors have to learn that there exists no fundamental dualism between mind and matter. Furthermore, actors are espoused to a dynamic shifting ground in the name of creativity. They have to carry the burden that the self is no sovereign identity as we generally suppose, but rather a threshold of permanent be-coming. One could call it the outstanding gift of acting. In the German language, gift means “poison”, in German ears the word has the double meaning of poison and present, thus expressing the fact that a gift is disturbing and blessing at the same time. Loaded with fear and joy as the crucial point of acting, which attacks and attracts actors and spectators most. Creator An entity primarily responsible for making the resource Susanne Valerie Source A related resource from which the described resource is derived http://oapen.org/download?type=document&docid=612285 Publisher An entity responsible for making the resource available Palgrave Macmillan, London Contributor An entity responsible for making contributions to the resource Rika Zulfia Rights Information about rights held in and over the resource Creative Commons Type The nature or genre of the resource Textbooks Dance and other performing arts Deconstructionism from c 1900 - History of Western philosophy Other performing arts Humanities Philosophy Philosophy Humanities Philosophy: aesthetics Humanities Post-structuralism Structuralism The arts The arts Theatre studies Theatre studies The arts Theatre: individual actors and directors The arts Western philosophy https://oer.usk.ac.id/files/original/fa03029012744e2433616ccb305a81c7.pdf c2e5d56400a827e47e3d7ff0d836d026 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 150 Psychology Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Plastic Bodies: Rebuilding Sensation After Phenomenology Subject The topic of the resource Phenomenology Description An account of the resource Sensation is a concept with a conflicted philosophical history. It has found as many allies as enemies in nearly every camp from empiricism to poststructuralism. Polyvalent, with an uncertain referent, and often overshadowed by intuition, perception, or cognition, sensation invites as much metaphysical speculation as it does dismissive criticism. The promise of sensation has certainly not been lost on the phenomenologists who have sought to 'rehabilitate' the concept. In Plastic Bodies, Tom Sparrow argues that the phenomenologists have not gone far enough, however. Alongside close readings of Merleau-Ponty and Levinas, he digs into an array of ancient, modern, and contemporary texts in search of the resources needed to rebuild the concept of sensation after phenomenology. He begins to assemble a speculative aesthetics that is at once a realist theory of sensation and a philosophy of embodiment that breaks the form of the 'lived' body. Maintaining that the body is fundamentally plastic and that corporeal identity is constituted by a conspiracy of sensations, he pursues the question of how the body fits into/fails to fit into its aesthetic environment and what must be done to increase the body’s power to act and exist. Creator An entity primarily responsible for making the resource Tom Sparrow Source A related resource from which the described resource is derived http://oapen.org/download?type=document&docid=530970 Publisher An entity responsible for making the resource available Open Humanities Press, London Contributor An entity responsible for making contributions to the resource Rika Zulfia Rights Information about rights held in and over the resource Creative Commons Type The nature or genre of the resource Textbooks from c 1900 - History of Western philosophy Humanities Phenomenology and Existentialism Philosophy Western philosophy