Bakhtin and the actor (with constant reference to Shakespeare).
The Bakhtin we know best is something of a lyricophobe and theatrophobe. This is surprising, since he loves the act of looking. His scenarios rely on visualized, collaborative communion. He cares deeply about embodiment. Does he care about the tasks that confront the actor? Not the improvising clown...
| Published in: | Studies in East European Thought Vol. 67; no. 3/4; pp. 183 - 208 |
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| Format: | Article |
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Springer Nature
Dec2015
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| Online Access: | View this record in EBSCOhost |