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271 Index Abel, Lionel, 234 (n. 2) Acting, acting types, 190–­ 91; amateur acting , 50, 60; and energy/inspiration, 21–­ 24; and ideology, 66; and philosophy, 218; and surrendering to the role, 15, 25, 32, 182, 191, 206; and the body, 220 (n. 5), 25–­ 26, 127; and the law, 143–­ 45; and truth/insight, 20, 34, 37–­ 38, 43, 45, 51–­ 52, 57, 76; as an aesthetic offering, 12, 36, 47, 72, 150; as being in another way, 14–­ 16, 198, 218; as collaborative experience, 27–­ 28, 72, 77; as distinct from daydreaming, 19; as distinct from delusion, 11; as distinct from pretending /lying, 33–­ 38; as distinct from social role-­ playing or performativity, 171–­ 74; (acting) as experiencing/feeling opposed to acting as projection, 13–­ 14, 31–­ 33, 41–­ 42; as existential amplification , 18–­ 30; as experiential invitation, 34–­ 35; as interpreting/reading, 43–­ 44, 70–­ 71, 78; as more than a wish to generate an audience’s response, 36, 42, 194; as validating an author’s text, 233 (n. 23); being cheapened by one’s acting, 128–­ 29; comic acting, 28, 69, 85–­ 86, 89–­ 90; contrasted with puppets, 117–­19; defined, 11–­12, 171–­72, 219–­20 (n. 3); intense acting, 60; its limits, 161–­ 67; its risks, 97, 100, 123–­ 46, 150–­ 52, 235 (n. 9), 251 (n. 11); live as opposed to filmed, 51–­ 54; need for an audience, 49, 228 (n. 9); non–­ Western acting, 27, 221 (n. 6); normative versus descriptive accounts, 10; quality of acting, 59–­ 66, 81; “total” acting, 142; tragic acting, 86, 89–­ 90, 203; versus merely participating in a play, 219 (n. 3); versus merely using acting, 149–­50 Aesthetic, (see acting as an aesthetic offering); aesthetic dimensions of social role-­ playing, 171; aesthetic response, 72; difference between interpreting and aesthetic response, 44, 223 (n. 10, 11) Aesthetic value, and pornography, 148–­ 50; as trumping moral values, 138–­ 39; performance as dialogue with the work’s aesthetic values, 72–­ 74; relationship between the aesthetic value of the text and the aesthetic value of the performance or the acting, 69–­ 70, 72, 83 Améry, Jean, 194 Anti-­Semitism, 136–­39 Anti-­ theatricality, 26, 123–­ 46, 137, 144, 235 (n. 9), 238–­ 39 (n. 4, 5, 6), 243 (n. 38), 244 (n. 42) Aristotle, 69, 87–­ 88, 219 (n. 1) Arnott, Peter, 236 (n. 4), 238 (n. 24) Artaud, Antonin, 39, 196 Aston, Elaine, 242 (n. 21) Audience, 46–­ 51; as active participant, 48–­ 50, 53–­ 54; as collective, 50; as constructed, 185–­ 86, 198, 226 (n. 2); as influencing the writing of drama, 87–­ 99; as responding to the acting process, 97–­ 99; as validating the acting 272 Index Audience (continued) process, 18, 48; its ethical attunement, 30, 138–­ 39; its function in anorexia, 193, 195, 198–­ 206, 210–­ 14; its function in validating masochistic theatricality, 185–­ 86; relationship between audience response and interpretation, 223 (n. 10, 11); relationship between audience response and the actor’s merits, 12, 34, 36, 42, 44–­ 45, 59–­ 66, 72; relationship between audience response and understanding , 24; relationship to repetition , 54; sensing energy versus being merely entertained, 22; superficial versus gratifying audience, 12; watching as opposed to reading plays, 10, 75; watching live as opposed to watching filmed acting, 51–­ 54; what the audience is explicitly aware of, 92–­ 93 Auslander, Philip, 28, 228 (n. 11), 229 (n. 15), 239 (n. 26) Axson–­ Flynn, Christina, 143 Barish, Jonas, 123, 144, 239 (n. 4), 240, (n. 5) Barrymore, John, 31, 44, 55, 229 (n. 3) Bass, Eric, 237 (n. 15) Bauer, Nancy, 156, 244 (n. 1), 246–­ 47 (n. 17, 23) Bausch, Pina, 226 (n. 226) Beardsley, Monroe, 223 (n. 9) Beckett, Samuel, 28, 238 (n. 26) Benedetti, Jean, 219 (n. 1) Benjamin, J. 250 (n. 8) Benjamin, Walter, 229 (n. 15) Bentley, Eric, 136, 242 (n. 25, 31) Bergson, Henry, 91 Berry, Cicely, 56 Bersani, Leo, 107, 250 (n. 10) Bertolucci, Bernardo, 150–­ 52 Blau, Herbert, 226 (n. 2) Boal, Augusto, 222 (n. 4) Boehn, Max von, 108–­ 9, 238 (n. 25) Bordo, Susan, 253 (n. 19) Borges, Jorge, 222 (n. 3) Boswell, James, 15 Bowman, Grace, 193, 197, 199, 200, 204, 214 Branagh, Kenneth, 38 Brando, Marlon, 38, 58, 126, 150–­ 52 Brecht, Bertolt, 28, 32, 66, 79, 135, 170, 196, 220 (n. 6), 225 (n. 3), 227 (n. 3), 242 (n. 23) Briginshaw, Valerie, 226 (n. 15) Brook, Peter, 63 Brown, Lee, 229 (n. 15) Brumberg, Joan, 208, 252 (n...

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