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By Michael Kirby

Michael Kirby offers a penetrating glance a theater idea and research. His technique is analytically entire and versatile, and nonevaluative. Case experiences display this new angle and checklist performances that differently will be lost.

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Yet he fails, for no reason, to slice a beet with a large and powerful beet-cutting machine: obviously he is only pretending. These scripts by Peter Handke show, among other things, that the playwright, too, may use an awareness of the acting/not-acting continuum. Although the playwright's control-exerted only through the written word-over the complexity of acting is limited, he or she may still deal with the nature and degree of acting as an element in the script. And Handke's early work is another illustration of a general, but not universal, shift among contemporary theatre artists toward simple acting and the not-acting end of the scale.

These connections to the past are not necessarily syntactic. They may not increase in any way the information being conveyed. Repetition of identical, fike, or similar elements is perhaps the basic kind of nonsemiotic discontinuous structure. When a phrase, gesture, or object reappears more than once, it has the tendency to invoke, at some point, the expectation that there will be another. Thus repetition ~Jumps" in both directions on the time continuum, relating disparate points in an alogical fashion.

Iij This is subjective. Of course, it may, and probably will, vary from person to person; each person may perceive a somewhat different structure in the same performance. But the same problem has not prevented psychology from attempting to be an objective science. Like the psychologist, we may set down certain general objective structural principles that are concerned with subjective functions. E r.. ~ Structural analysis If we consider painting as an art to mean the two-dimensional arrangement of line, form, and color, everything that we know about the principles of structure in painting can also be applied to the study of the structure of performance.

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