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Presentational acting and the related representational acting are critical terms used within theatre aesthetics and criticism. Due to the same terms being applied to certain approaches to acting that contradict the broader theatrical definitions, however, the terms have come to acquire often overtly contradictory senses.〔A simple web search can reveal just how contradictory and confusing the use of these terms has become. The confusion of the terms is explained further down in this article.〕 In the most common sense (that which relates the specific dynamics of theatre to the broader aesthetic category of ‘representational art’ or ‘mimesis’ in drama and literature), the terms describe two contrasting functional relationships between the actor and the audience that a performance can create.〔Elam , Keir. 1980. ''The Semiotics of Theatre and Drama''. New Accents Ser. Methuen. ISBN 0-416-72060-9 Pbk. p.90-91.〕 In the other (more specialized) sense, the terms describe two contrasting methodological relationships between the actor and his or her character in performance.〔Stanislavski (1936, 12-32) and Hagen (1973, 11-13).〕 The collision of these two senses can get quite confusing. The type of theatre that uses ‘presentational acting’ in the first sense (of the actor-audience relationship) is often associated with a performer using ‘representational acting’ in the second sense (of their methodology). Conversely, the type of theatre that uses ‘representational acting’ in the first sense is often associated with a performer using ‘presentational acting’ in the second sense. While usual, these chiastic correspondences do not match up in all cases of theatrical performance. ==The actor–audience relationship== In every theatrical performance the manner in which each individual actor treats the audience establishes, sustains or varies a particular kind of actor-audience relationship between them. In some plays all of the actors may adopt the same attitude towards the audience (for example, the entire cast of a production of a Chekhovian drama will usually ignore the audience until the curtain call); in other plays the performers create a range of different relationships towards the audience (for example, most Shakespearean dramas have certain characters who frequently adopt a downstage ‘platea’ playing position that is in direct contact with the audience, while other characters behave as if unaware of the audience’s presence).〔Weimann, Robert. 1978. ''Shakespeare and the Popular Tradition in the Theater: Studies in the Social Dimension of Dramatic Form and Function.'' The Johns Hopkins University Press. ISBN 0-8018-3506-2 Pbk. See also Counsell, Colin. 1996. ''Signs of Performance: An Introduction to Twentieth-Century Theatre.'' Routledge. ISBN 0-415-10643-5 Pbk. p.16-23.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Presentational and representational acting」の詳細全文を読む スポンサード リンク
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