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By Cormac Power

Presence in Play: A Critique of Theories of Presence within the Theatre is the 1st entire survey and research of theatrical presence to be released. Theatre as an paintings shape has usually been linked to notions of presence. The 'live' immediacy of the actor, the unmediated unfolding of dramatic motion and the 'energy' generated via an actor-audience courting are one of the principles often used to give an explanation for theatrical event - and all are underpinned by way of a few realizing of 'presence.' accurately what's intended by way of presence within the theatre is a part of what Presence in Play units out to provide an explanation for. whereas this paintings is rooted in 20th century theatre and function due to the fact modernism, the writer attracts on a variety of old and theoretical fabric. Encompassing rules from semiotics and phenomenology, Presence in Play places ahead a framework for considering presence in theatre, enriched via poststructuralist conception, forcefully arguing in favour of 'presence' as a key idea for theatre stories this day.

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The first relates to the extent to which drama can coherently be conceived of as a negation of reality, the extent to which everything onstage is “marked with unreality”. I explore this issue in more detail further on; here I only wish to note the potential difficulties in reconciling a theory which emphasises the negation of the real with an art form that— more than any other—contains “real” things such as people, chairs and tables. The other question which needs to be addressed is the notion of drama as presenting the unfolding of fictional events before the spectator without “narratorial mediation”.

Bazin’s implication is that cinema spectatorship requires no conscious act of “will” to “transform […] physical reality into an abstraction”. Bazin’s proposal that only a person “who is fully conscious” can transform elements of “an Making-Present: The Fictional Mode of Presence 23 objective reality” into “beings in an imaginary world” will remind us of Metz’s suggestion that film offers us a “vacuum which dreams readily fill”. Film offers us the opportunity to dream, to enter into an imaginary world and block out any unnecessary consciousness of reality.

Will fuel have to be added to keep it alight”? If one decides that it is “real” then how curiously obtrusive it seems on this “realistic” set to have upon it an element so rooted in the natural world, so obviously non-fictitious, so “real”. But if we decide that the flames do not look quite real (or even worse, are painted), how utterly fake and disappointing is this artefact on an otherwise beautifully designed stage! In other words, stage naturalism carries within itself the potential for its own subversion.

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