Noting that scholars have too willingly accepted Plato's assumption that one could not successfully be both an actor and a rhapsode (reciter or singer of epic poetry), this paper suggests that placing the "mixed style" of the rhapsode's performance art within the context of the Homeric sensibility and the cultural shift into literacy…

Ideally, the act of performance involves the whole body of the performer. The solo performer of any poem (defined broadly to include all types of literature) becomes the poem; the poem takes flesh in the form of the reader. In this situation, the reader gives the audience a close-up, in which small gestures and minimal movements assume massive…

This collection of abstracts is part of a continuing series providing information on recent doctoral dissertations. The 12 titles deal with the following topics: (1) awareness of self, awareness of environment, mental imagery, communicative competency, and theatrical improvisation; (2) the evolution of scenography in the Western theatre; (3)…

THE BASIC PREMISE OF THIS BOOK IS THAT LEARNING TO READ ORALLY IS OF FUNDAMENTAL IMPORTANCE TO THOSE WHO WOULD FULLY APPRECIATE OR RESPOND TO LITERATURE. BECAUSE READERS MUST INTERPRET LITERATURE ALWAYS FOR THEMSELVES AND OFTEN FOR AN AUDIENCE, THREE ASPECTS OF ORAL INTERPRETATION ARE EXPLORED--(1) THE CHOICE OF MATERIALS, WHICH REQUIRES AN…

This collection of abstracts is part of a continuing series providing information on recent doctoral dissertations. The 26 titles deal with a variety of topics, including the following: (1) military theatre; (2) drama as pedagogy; (3) visualization and actor training; (4) the discomfort-relief quotient as an indicator of theatrical genre; (5)…