dc.contributor.author | Turri, Maria Grazia | |
dc.date.accessioned | 2015-11-23T09:54:35Z | |
dc.date.issued | 2015-05-11 | |
dc.description.abstract | From Aristotle’s theory of tragic katharsis to Brecht’s formulation of the
Verfremdungseffekt, theorists of the theatre have long engaged with the
question of what spectatorship entails. Such question has, directly or indirectly,
extended to the investigation of acting. In the wake of Brecht’s critique of
conventional theatre, emphasis has been put on the study of spectatorship from
the point of view of its cultural determinants and its conscious cognitive aspects,
while unconscious processes have been mostly ignored.
In this thesis I take a psychoanalytic perspective to analyse theories of the
theatre that have investigated the process of identification of the spectator or
the actor with the character. According to psychoanalysis, mechanisms of
unconscious identification, such as projection and introjection, are fundamental
to psychic development and to the construction of the self.
By analysing Aristotle’s theory of tragic katharsis through Freud’s theory of
transference, I propose a new understanding of spectatorship as transference
dynamic. I then conduct an in-depth enquiry into eighteenth-century theories of
acting which lead up to Diderot’s Paradoxe sur le comédien. I investigate the
paradox of the actor, in its fruitful tension between sensibility and
understanding, from the perspective of Melanie Klein’s concept of unconscious
phantasy and Bion’s theory of alpha-function. I hence interpret the art of the
actor as the performing of alpha-function on the spectator’s unconscious
emotions.
The new insights afforded by a psychoanalytic perspective of spectating and
acting illuminate the moral function of theatre and resolve some of the
controversial points brought forward by various theorists, including Brecht and
Rousseau. The moral function of theatre can be construed as a transpersonal
process in which unconscious identifications between spectator and actor
promote the development of a reflective view of the self. | en_GB |
dc.identifier.uri | http://hdl.handle.net/10871/18738 | |
dc.language.iso | en | en_GB |
dc.publisher | University of Exeter | en_GB |
dc.rights.embargoreason | I wish to publish papers using material that is substantially drawn from my thesis. | en_GB |
dc.rights | I wish to place an embargo on my thesis to be made universally accessible via ORE for a standard period of 18 months. Afterwards, this thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper
acknowledgement. Licensees may copy, distribute, display and perform the work and make derivative works based on it only if they give the author the credit. | en_GB |
dc.subject | theatre drama spectatorship acting psychoanalysis identification | en_GB |
dc.title | A Psychoanalytic Perspective on Theories of Spectator- Character and Actor-Character Identification in the Theatre | en_GB |
dc.type | Thesis or dissertation | en_GB |
dc.contributor.advisor | Wiles, David | |
dc.publisher.department | Drama Department | en_GB |
dc.type.degreetitle | PhD in Drama | en_GB |
dc.type.qualificationlevel | Doctoral | en_GB |
dc.type.qualificationname | PhD | en_GB |