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Aesthetic Experience in Theater and the ‘I’ of the Beholder

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Aesthetic Experience in Theater and the ‘I’ of the Beholder
AESTHETIC EXPERIENCE IN THEATER AND THE ‘I’ OF THE BEHOLDER

Chapter 1

THE PROBLEM AND ITS SCOPE

Rationale of the Study

Literature has always been a part of every man, whether enjoyed and appreciated in different perception, it could be through reading the text or by watching it on stage. In the end, the important is that readers and viewers are entertained and understood literature at its best. Theater is one of the ways which people can enjoy literature and it has always been a part of every man to watch and be entertained in theater. It is man’s expression of his daily drama of his life, whether it could be sweet or bitter. Man expresses his emotions through different ways and tends to be storytelling of his life since it is where man finds belongingness when others pay attention of his own drama. From the very beginning, theater has come to take on many forms, utilizing speech, gesture, music, dance, writing, and shows. It also combines the other performing arts, often as well as the visual arts, into a single artistic form. Theater also shows that it is man’s higher nature and need to be emotional, intellectual, spiritual, and creative. It is in theater that all of these aspects of man’s higher nature and need are used to express and demonstrate aesthetic experience in theater as well as in life. Aesthetic experience is essential to every human being since this is the pleasurable and desirable experience that gives life worth and meaning. Aesthetic experience in theater is experienced in two ways; the experience of the performer or the actor and the experience of the audience. Indeed, aesthetic experience is not only significant to the characters performing on stage but also to the audience whom the performance is being addressed. The actors on the stage has performed the characters they portrayed in theater has always significant effect on their personal experience or the opposite. The theatrical experience has



Cited: Freshwater, Helen. Theater and Audience. First published 2009 by PALGRAVE MACMILLAN, Macmillan Publishers Limited, 785998. Geisinger, Alex and Stein, Michael Ashley. A Theory of Expressive International Law.  Vanderbilt Law Review 60.1 (2007): 77-131. B. PERIODICALS Cambridge International Dictionary of English, Cambridge, Cambridge University Press, 1196. Guyer, Paul. Kant 's Theory of Taste: A Reading of the Critique of Aesthetic Judgment (review). Journal of the History of Philosophy 40.3 (2002): 406-408. Longman Group. Longman Dictionary of Contemporary English, Longman House, Burnt Mill, Harlow, 1995. Martin, Lesley. Theories of Media: Aesthetics. The University of Chicago. 2003. Mienczakowski, Jim. Pretending to know: ethnography, artistry, and audience. Ethnography and Education. Volume 4, Issue 3, 2009 Special Issue: Shifting boundaries in ethnographic methodology Pardue, Karen T Raben, Rachel Anderson. The Nature Theater of Oklahoma 's Aesthetics of Fun. TDR: The Drama Review 54.4 (2010): 81-98. Budd, Malcolm (1998). Aesthetics. In E. Craig (Ed.), Routledge Encyclopedia of Philosophy. London: Routledge. Retrieved September 27, 2012, from http://www.rep.routledge.com/article/M046. Case, Gretchen A.; & Micco, Guy. (2006). Moral Imagination Takes the Stage: Readers’ Theater in a Medical Context.Journal for Learning through the Arts, 2(1). Retrieved from: http://escholarship.org/uc/item/7380r49s Nie, Jing

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