Topic 4: “Suspension of disbelief” is an essential feature of theatre. Is it essential in other areas of knowledge? Develop your answer with reference to two areas of knowledge.
With no doubt, there are ways in which disbelief may function both in favour and against acquiring knowledge. Some may argue that suspending disbelief — especially in the light of contemporary scientific method — can be considered a form of ignorance. However, it is often essential to take no notice of doubts in order to finally achieve the aim of gaining knowledge. It surely happens in theatre on multiple levels — from the substantial ignorance of the dark space around the stage, to the trust in the authenticity of characters’ emotions. But not only does the “suspension of disbelief” applie to Arts, but it can also find its use in other Areas of Knowledge such as Natural Sciences and Religious Knowledge Systems. Nevertheless, it should be underlined that applying
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Concerning the former, “suspension of disbelief” is, above all, a literary term with its strictly literal meaning — it can be loosely understood as a willingness of a person to overlook the limitations of a given medium and for the moment believe the unbelievable. Subsequently, with regard to the latter, experiencing theatre is a phenomenon which would not exist without the notion of “suspension of disbelief.” As mentioned, its significance is visible in nearly all aspects of theatre. The concept of theatre is, generally speaking, a mutual agreement of a convention between the artists and the audience. Braking its conditions results in provoking the failure of a unique experience. Moreover, a notable role is played here by three distinct Ways of Knowing: Reason, Language, and Emotions. The clash between them to huge extent influences the way in which we perceive the
Skepticism or Justified True Belief Elizabeth McIver ID: L25662046 PHIL 201 B06 Spring 2018 Abstract How do the Matrix, Plato’s “The Allegory of the Cave”, and Descartes’ “Meditation 1 of the Things of Which We May Doubt” compare and contrast to each other? Also, can we truly depend on our senses to aid us in our quest for knowledge?
A key theme proposes a philosophical riddle regarding ignorance. Although individuals believe that knowledge is power, others would propose that knowledge does more harm than good. This film embodies the concept that ignorance is bliss.
I now appreciate the thought process behind a theatre production more greatly, as I realised that every factor in the production contributes to the overall performance with a symbolic purpose. I also gained a greater understanding in the purpose of theatre as an artistic medium. After watching the film adaptation of Rabbit Hole, I realised that the impact of the character 's emotions were dulled by the disconnect between audience and actor. As I acted as Jason however, I learnt that theatre is the best medium for growing a deeper connection between the cast and audience, thus allowing for poignant works about social issues or emotional experiences. Stories presented in the form of rama can be more affecting to the audience than other mediums due to live performers, thus paving the way for discussions on key themes or catalysing social
Peter Elbow presents the believing game and the doubting game in “The Believing Game-Methodological Believing.” He states that, the doubting game represents a form of thinking that is mostly recognize and taught. The doubting game intention is to be skeptical and analytical with every idea that one experiences. On the other hand, the believing game principle is to embrace as much as possible every idea one experiences, by actually trying to believe different views. He believes that both the doubting game and believing game has weaknesses.
The theatre framework compares service delivery to a theatre performance by associating the way a theatrical performance is made up to impress members of the audience (26). This framework requires
Misunderstandings and faulty ideas are direct results of human reasoning digesting and misinterpreting ideas. Knowledge, in short, fuels reasoning. External concepts are taken in, where human reasoning then extrapolates and comprehends the knowledge. But what we take in from our senses can be misleading. Petrarch expresses in a faithful, crystalline, and unclouded Christian manner that he may not be able to trust ideas from the outside, but “it is He in whom I can trust” (101).
Mankind does not come to the world with everything made sense already, we give ‘sense’ and meanings to those things. It is a dialectic process that requires three steps: 1) Externalizations; 2) Objectivation; and 3) Internalization. Collectively we made a world for ourselves, we learn how to relate to and shape the
In online video games, the word meta easily translates to “Most Effective Tactic Available”; in theatre, however, the word metatheatre does not have the same concrete definition. According to The Oxford Encyclopedia of Theatre and Performance, metatheatre is defined as a drama that is self-aware of its existence as a play and not reality (Pelligrini). Even so, many scholars like the literary critic Terry Eagleton have been ruminating about what exactly the term means. Anne Washburn’s play-within-a-play, 10 Out of 12, tries to take on the concept of metatheatre by looking at postmodernism in a theatrical light. 10 Out of 12, which the Theatre and Performance Studies (TAPS) presented on March 2018 at the University of Toronto Scarborough (UTSC),
In this essay, Elbow leans towards the believing game and tries to persuade the reader to leave the doubting game behind. Elbow states rules for each game that are used to form a plausible conclusion. The
Knowing a fact is true is the first step to reality, but understanding why is how you truly envelope yourself. “Young Goodman Brown” and Oedipus the King, both bring up the idea of what is known as “The grand illusion”. The idea that nothing is, or has ever been, what we believe it is. The unfolding the illusion bears strong similarity between both stories, in the adapted words of Peter Baelish, it is a ladder of chaos. First, both stories start with a methodical understanding of the problem, in “Young Goodman Brown” an assuredness of the journey and in Oedipus an eagerness to solve a problem.
In the movie “12 Angry Men”, various Ways of Knowing are identified by the TOK course such as emotions, perception and reason. The film demonstrates the role that emotion plays in the aim of knowledge, if we can truly trust our sense to perceive what the world really is, and is arguing through reasoning significant? Emotion plays a role in the search for the truth whether it is the aim for new knowledge or the jury’s search for a solution in the case. “12 Angry Men” displays how emotions can aid our judgment. When the juror’s expressed outrage, it was because they had heard something that they didn’t approve of therefore, they expressed an emotion that reflected their opinion.
When one thinks of the theatre, they think of modern day Broadway, New York City, and flashing lights, but they don’t think about how we got here. They think that right now is the peak of theatre, but don’t think about the Victorian Era (1831-1901), when the theatre was just beginning to pick up in London. They don’t realize how much the Victorian Era truly impacted the theatre. In order to know how deep this impact truly was, one must learn about the theater itself, the types of theatre performed, and the enhancements that made the theatre truly special. Before diving into what has been produced from the theater, the theater environment must first be addressed.
The Human Race has always felt in need for having consensus and disagreement in what concerns to knowledge. “Robust” knowledge itself can be defined as a type of ability that allows humans to apply it in their own world of things and at the same time be able to make use of it. The Greeks referred to this type of knowledge as techne. This essay will focus on the knowledge requirements and how different areas of knowledge rely on both consensus and disagreement to achieve a robust knowledge. History and Arts both in general need so much consensus as disagreement, to create the common goal of achieving what is call a higher level knowledge.
“Imagination no longer has a function”, says Emile Zola in his essay, ‘Naturalism in the Theatre’. Many of the ideas which Zola has discussed in this essay have been taken up by modern theatre, both in theory and practice. Modern theatre, for instance, is aware of the fact that analysis and not synthesis should be the basis for theatrical production. It is with this theory at the back of his mind that Bertolt Brecht has discussed theatre’s role as an educator only if the elements associated with spectacle are removed from theatre.
To add on, some people might say “theater is not a necessity in life”. So what? Theater just gets taken away, which is too heartbreaking to understand when it’s not within people’s grasps. Theater might not be an essential for survival, but the importance of this argument is that it can improve in the educational system. And isn’t that what it is all about?