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

Literature has ever been a portion of every adult male. whether enjoyed and appreciated in different perceptual experience. it could be through reading the text or by watching it on phase. In the terminal. the of import is that readers and viewing audiences are entertained and understood literature at its best.

Theater is one of the ways which people can bask literature and it has ever been a portion of every adult male to watch and be entertained in theatre. It is man’s look of his day-to-day play of his life. whether it could be sweet or acrimonious. Man expresses his emotions through different ways and tends to be storytelling of his life since it is where adult male finds belongingness when others pay attending of his ain play. From the really get downing. theatre has come to take on many signifiers. utilizing address. gesture. music. dance. authorship. and shows. It besides combines the other acting humanistic disciplines. frequently every bit good as the ocular humanistic disciplines. into a individual artistic signifier. Theater besides shows that it is man’s higher nature and demand to be emotional. rational. religious. and originative. It is in theatre that all of these facets of man’s higher nature and demand are used to show and show aesthetic experience in theatre every bit good as in life. Aesthetic experience is indispensable to every homo being since this is the enjoyable and desirable experience that gives life worth and significance.

Aesthetic experience in theatre is experienced in two ways ; the experience of the performing artist or the histrion and the experience of the audience. Indeed. aesthetic experience is non merely important to the characters executing on phase but besides to the audience whom the public presentation is being addressed. The histrions on the phase has performed the characters they portrayed in theatre has ever important consequence on their personal experience or the opposite. The theatrical experience has something to make with ( a ) their readying for the function and duologue with the character within his portion. ( B ) his hunt for integrity and rightness. harmonious correspondence between executing ‘self’ and impersonated ‘character’ ( degree Celsius ) the chances for impressive shows of theatrical and dramatic accomplishment offered by the convention of multiple function playing and. ( vitamin D ) his professional purposes vis-a-vis his audience. Therefore. it is ever viewed and considered that the histrions are ever cognizant of their ain changeableness in dramatic individuality and the world that is indispensable to his mundane ego. The audience is one of the most of import in theatre.

The experience of the audience in theatre has something to make with their artistic self-awareness. The audience or the ‘I’ of the Beholder in theatre is important since the response of the audience is of import to the performing artists because it gives them worth. The audience in theatre responds to ( a ) centripetal stimulation of the drama ( B ) homo values which is natural in any text or duologue ( degree Celsius ) artistic excellence that is fulfilled in the production and. ( vitamin D ) rational value or the public presentation value that communicates to the thought of the audience. Plays contain some ‘hooks’ on which an audience can hang their personal experiences. The drama as it is written needs the interaction with the audience to finish its full significance with the aid of the good performing artists. In theatre. both the histrions and the audience have played and an of import function to do the life of the theatre alive. It’s wholly an uneven if the performing artists performed in a specific topographic point for no ground. Thus. a group of persons gathered at a certain clip and topographic point for no intent other than to see the public presentation.

With this. performing artists in the theatre should ever see the value of their endowments as histrions that entertain the audience that hungriness for the interpersonal contact. research issues while conveying people to the same room and most particularly. finish its full significance of their bent ups of life through theatre. Theater has been an influential factor in many people’s lives. flourishes creativeness. improves students’ faculty members. and a good agencies to develop self-expression. Theater can be influential in all facets of life. Developing a originative head can take to a more tolerant attitude because. merely like many people say that “The originative procedure of theatre leads the audience to be more open-minded and acceptable because of the diverse functions they portray. ” In the hereafter. people who are exposed to theater will go more tolerant of sensitive issues. which could make better life conditions globally. In world. theatre can learn valuable accomplishments that can be used in the professional universe.

Theoretical Background of the Study
This literary research assumes that the Aesthetic Experience in Theater and the ‘I’ of the Beholder reflects on the public presentation of the histrions on phase. the response of the audience. and the influence of theatre to both the histrions and the audience. This research premise is supported by the aesthetic theory. matter-of-fact theory. and expressive theory. The Aesthetic Theory. The thought of this theory assumes that a literary work is beautiful and enjoyable since aesthetics trades with art. and gustatory sensation. and with the creative activity and grasp of beauty ( Raben. 2010 ) . Harmonizing to Kant aesthetics examines our affectional sphere response to an object or phenomenon. Therefore. each individual has its ain sense of gustatory sensation in finding in instance of beauty. The instance of beauty is different from mere amenity because if person proclaims something to be beautiful. so he requires the same liking from others ; he so Judgess non merely for himself but for everyone. and speaks of beauty as if it were a belongings of things ( Guyer. 2002 ) . Stumpf ( 1999 ) justifies Hume’s theory on aesthetic explains that gustatory sensation. aesthetic. and moral response is immediate in the sense that the feeling occurs spontaneously in anyone who makes customary inventive associations. Hume wants to stress that a critic does non deduce the presence of beauty.

Yet he besides acknowledges the relevancy of sound understanding to savor. This combination of philosophies has deductions for the pattern of warranting judgements of gustatory sensation. Cohen. a scholar-practitioner says that the aesthetic experience is the enjoyable experience of perceptual experience. brought about by the reciprocality between the qualities embedded in a signifier and the perceptual capacities of those who witness or behold that signifier. Aesthetic experiences by and large integrate the senses. emotions. and spirit with mind ( 2007 ) . Budd explains that a positive aesthetic value derives from a relation among its elements. or a higher order belongings that it possesses. which is capable of giving pleasance to a individual who perceives or imaginatively realizes it ( 2008 ) . Martin describes Baumgartens theory on aesthetics that what can be cognized through the higher module of head are the object of logic and the episteme of the topic which is aesthetics ( 2007 ) . Stumpf besides explains Dewey’s theory on aesthetics is that the roots of aesthetic experience prevarication in platitude experience. in the completion of the experiences that are present in the class of human life. He added that there is no legitimacy to the amour propre cherished by some art enthusiasts that aesthetic enjoyment is the privileged gift of the few.

Whenever there is a brotherhood into an instantly enjoyed qualitative integrity of significances and values drawn from old experience and present fortunes. life so takes on an aesthetic quality ( 1991 ) . The Expressive Theory. Expressive theory is seen as the agencies of portraying the unique. single feelings and emotions of the creative person and good art should successfully pass on the feelings and emotions which the creative person intended to show. Geisinger ( 2007 ) discusses Abram’s expressive theory as who interpreted and shared the rule that a displacement from imitation to expressive theories that when an art becomes look. the importance of the creative persons addition. Artists are the executors as ever. and they are now the content every bit good ; as their plants are in a sense the making of themselves. creative persons and plants are exhaustively involved. Geigsinger added that an expressive theory of art. one obvious inclination would be for the artist’s personality. as it moves towards the centre. to displace and replace the audience ( 2007 ) .

For Ruskin. the expressive theory on beauty is when brooding module. theory. instinctively perceives beauty as enjoyable. and when a individual describes the mechanism by which the perceiver perceives both the felicity and moral significance of a life being to be beautiful ( 2005 ) . Smith explains that expressive theories hold that moral propositions express attitudes and expressive advocates depict how one or two are compatible with the general expressive position ( 1987 ) . Stumpf describes Blackburn’s expressive theory as a signifier of moral anti-realism or non-factualism. the thought that there are no moral facts that moral sentences describe or represent. and no moral belongingss or dealingss to which moral footings refer.

Expressive advocates deny constructivist histories of moral facts ( 1999 ) . The Matter-of-fact Theory. Pragmatic theory is the philosophy that practical effects are the standards of cognition. significance. and value. Dewey’s theory on pragmatism explains that action in the work connects the involvement of making good and being right ( 1999 ) . Stumpf ( 1999 ) discusses James matter-of-fact theory that is frequently summarized by his statement that “the ‘true’ is merely the expedient in our manner of thought. merely as the ‘right’ is merely the expedient in our manner of behaving” . Wells defends the matter-of-fact theory as a legal judgement made from a peculiar position and that judgment is a located activity. therefore. the Judgess should go to to their Aesthetic Experience in Theater and the “I” of the Beholder

Theater

Figure 1: A Conventional Presentation of the Theoretical Background of the Study state of affairs in a painstaking manner. Wells emphasizes that “we can ne’er see with any eyes except of our ain. we can broaden our state of affairs in such a manner that our watercourses of inclination are more perceptive to the different positions that exist in the universe we are seeking to judge” ( 2003 ) . Geisinger ( 2007 ) explains Abram’s matter-of-fact theory as the relation to the work. in which it is treated as something that is constructed to accomplish certain effects on the audience and its effects may be for the aesthetic pleasance. direction or any sort of emotion ( 1993 ) .

The Problem Statement
This survey analyzes aesthetically. expressively. and pragmatically the Aesthetic Experience in Theater and the ‘I’ of the Beholder.
Specifically. it looks into the followers:
1. the public presentation of the histrions on phase ;
2. the response of the audience ; and

1. How do audiences depict their experiences of go toing humanistic disciplines public presentations?
2. What is the relationship between audience battle and artistic quality?
3. the influence of theatre to both the histrions and the audience.

Significance of the Study
The best manner to appreciate a literary chef-d’oeuvre is through literary
apprehension and readings. The comprehension of a literary work and the grasp of its aesthetic experience and values take topographic point through the usage of assorted attacks and one of it is the theatre.

This survey benefits the undermentioned entities:
Literature Professors. This survey serves the literature professors as an thought and theoretical account in covering with theatre. Further. this survey serves a usher in cognizing the aesthetic experiences in theatre to both the histrions and audience.

English-Literature Major leagues. This research gives the English-Literature major pupils a new method of analysing the word picture portrayed by the histrions on phase and the responses of the audience observation. College Students. This paper provides literature college pupils information on how the aesthetic experience in theatre to both the histrions and audience. Students know how to analyse the characters portrayed by the histrions on phase and the experience of the audience. Literary Scholar. The findings of the survey serve as motivation factor for the literary bookmans to look into a similar research to formalize the findings of this research. Furthermore. this serves as an inspiration to admit the importance and significance of theatre in the literary grasp. Theater Enthusiasts. This paper helps the readers appreciate how a book is given life on phase to recapture specific emotions of the characters. the scene of the narrative and how events progress from expounding to declaration. Hence. this helps them understand why and how alterations take topographic point on phase production.

Scope and Restrictions
This survey focuses on the Aesthetic Experience in Theater and the “I” of the Beholder specifically on The Phantom of the Opera. It looks specifically into the public presentation of the histrions on phase. the response of the audience. and the influence of theatre to both the histrions and the audience.

Definition of Footings
The undermentioned footings are being defined conceptually and operationally for better apprehension. Aestheticss refers to beautiful and enjoyable since aesthetics trades with art. and gustatory sensation. and with the creative activity and grasp of beauty ( Raben. 2010 ) . Audience is a group of people who participate in a show or meet a work of art and in theatre ( encyclopedia. thefree. dictionary ) . . Perceiver means the theoretical account of organisational designation to seek to understand the voluntary concerted behaviour of professionals in organisations ( Dukerich 1993 ) . Experience is the accretion of cognition or accomplishment that consequences from direct engagement in events or activities ; “a adult male of experience” ; “experience is the best teacher” ( Cambridge. 1996 ) . Play refers to a dramatic work intended for public presentation by histrions on a phase ( encyclopedia. thefree. dictionary ) . Theater is a subdivision of the acting humanistic disciplines. any public presentation may be considered theatre ; nevertheless. as a executing art. theatre focuses about entirely on unrecorded performing artists making a self-contained play ( Longman Dictionary ) .

Chapter 2

REVIEW OF RELATED READINGS

This chapter discusses of the country of survey specifically the Aesthetic Experience in Theater and the ‘I’ of the Beholder. It is a concise overview of what has been studied. argued. and established about the experience in theatre. It besides surveys scholarly articles. books. and other beginnings relevant to the subject. theory. and critical rating of the work. Indeed. a drumhead and synthesis of the beginnings to give a new reading of the old or combine new with the old reading.

Related Literature Reviewed
Theater has been around for 1000s of old ages. and the ways we study it have changed resolutely. Theater has been created as an mercantile establishment for human’s representations. it is the fact of life that demonstrates the life’s strength is still integral and asks merely to be better directed. Man shriek for thaumaturgy in lives. but genuinely afraid of prosecuting the being of life’s influence and mark.

To interrupt through linguistic communication in order to touch life is to make or animate the theatre because this is believed that this is the indispensable thing that remained sacred and non merely anyone can make it because of its rigorous readyings.

In the book The Theater and Its Double. Artuad ( 1958 ) reveals that the sense of life is renewed in theatre. a sense of life in which adult male dauntlessly makes himself maestro of what does non yet exist. and brings it into being. And he even added that everything that has non been born can still be brought to life if adult male is non satisfied of merely mere a recording climax.

To Heuvel in his book Performing Drama/Dramatizing Performance: Alternate Theater and the Dramatic Text references that theatre is frequently characterized by non by a true moral asperity and a critical stance toward society. but by subjects of single loss. disaffection. and the prostration an idealised American community ( 1993 ) .

In the book Inwardness and Theater in English Renaissance Muas ( 1995 ) quotes Hamlet’s statement that the strong belief of truth is indefinable and that it implicitly devalues any efforts to show to pass on it. And that the model case of this devaluation is the theatre since any actions that a adult male might play can be recognized in theatre.

Fresh water in her book Theater and Audience references that theatre has taken its topographic point within a wide spectrum of public presentation. linking it with the wider forces of ritual and revolt that yarn through so many domains of human civilization. Theater has helped do connexions across subjects. Theater and public presentation have been deployed as cardinal metaphors and patterns with which to rethink gender. economic sciences. war. linguistic communication. the all right humanistic disciplines. civilization and one’s since of ego ( 2009 ) .

Freshwater added that the minute of being caught between single duty and corporate response. between active battles and inactive ingestion is a unrecorded experience and a careful study of the broad scope of attacks that theatre bookmans. philosophers. practicians and boosters take when sing the presence and power of the audience ( 2009 ) . For Freshwater the presence of an audience is cardinal to the definition of theatre. and the 20th century saw an detonation of involvement in the audience’s function among experimental theatre practicians ( 2009. Related Studies Reviewed

From the really beginning of civilisation. the theatre has helped mankind to detect and understand themselves and their relationship with the universe. with others. and with God ( or the Gods ) . As such. it is and ever has been an confirming force in the universe. As Melnick ( 1998 ) used Ludwig Lewisohn statement that in all ages the play. through its portraiture of the playing and enduring spirit of adult male. has been more closely allied than any other art to his deeper ideas refering his nature and fate. Unlike any other art. the sum. intense focal point of theatre is on the human being. his or her being. and his or her relationship with life. It is a portion of human nature to necessitate to analyze who we are in relationship with where we are. Consequently. basic elements of theatre and play exist in every society.

Harmonizing to Bruch ( 1990 ) that the theater is a created thing. and its really creative activity determines what it is and what it does. We create the theater in such a manner to show significance. feeling. and spirit so that the audience member will hold an chance to see what we want them to see. For case. we may desire the audience to see what it is like to populate in a composition board box in an back street in order to acquire them to experience and understand urban jobs. At the same clip. we may desire to confirm the worth of individuals. A individual life in a composition board box has worth.

Bruch ( 1990 ) added that the experience of theater is more than this. It is a portion of human nature to divide ourselves from people who are different and unrecorded in different state of affairss. The theater breaks that barrier of separation. it allows adult male to see the universe of another individual and at the same clip experience ourselves in our ain universe. The theater ties us and our universe to another individual and his or her universe. Man comes to see and understand. emotionally and intellectually. that the life of human being connects to another’s life. and man’s universe connects to another’s universe. This manner. the theater ties together man’s ain humanity.

As Case ( 2006 ) suggested in her survey Moral Imagination Takes the Phase: Reader’s Theater in Medical Context that the pupils from theatre and public presentation surveies were interested in the impact that theatre can hold in a community and besides found value in furthering interdisciplinary thought about the humanistic disciplines and the scientific disciplines. Most of the pupils at some point remarked on their attractive force to the class. because it represented something different in their school twenty-four hours: a interruption from analyzing. a opportunity to interact with the off campus universe ; the chance to read. analyse. and interpret good literature.

To Pardue ( 2004 ) geographic expedition of aesthetic modes fosters the ability to bring out significance and significance of a state of affairs. Readers Theater stimulates these originative and inventive elements. It involves a dramatic unwritten reading of a narrative by an assembled dramatis personae. Through this experience. pupils describe an enhanced sense of patient empathy. heightened concern for person-centered attention. and a value chance for self-reflection. Aesthetic larning experience supports the development of a lovingness. humanistic professional.

Grove and Fisk ( 1992 ) discussed that the function of the audience in developing and keeping a definition of an synergistic state of affairs can non be ignored. The audience’s germinating outlooks and uninterrupted communicating ( verbal or gestural ) of its responses to a public presentation as it unfolds provide the histrions with needful information to steer their behaviour toward a coveted result. While the significances and readings that an audience assigns to a behavioural brush may be partly a map of old larning. their proof occurs during or following the interaction.

Jing Nie’s survey Staging Spatial Conflicts and Affect in Emotional Postsocialism: Meng Jinghui’s Theater explains that the beauty of lived experience has an impact of the wing feeling of the person and to the overall theatrical infinite. It represents a infinite in theatre from the inactive and limited acting phase to the porous unfastened infinite that the audience inhabits but besides makes the phase an alternate infinite on the boundaries taking to transform the wing infinite. In-depth geographic expedition and activation of the complicated relationships between linguistic communications and their word. lived experience and trade good. and organic structure and affect and their spacial manifestations inside and outside of the theatre have efficaciously engaged the audience intellectually and emotionally while keeping their consciousness of the illusional nature of the theatre and of the realistic universe outside ( 2011 ) .

Radbourne and Johanson explain in their survey The Audience Experience: Measuring Quality in the Performing Arts that audiences will be ferociously loyal if they can see fulfilment and realisation in the humanistic disciplines experience. An art experience that combined response from the emotions. senses. imaginativeness. and mind ( 2009 ) .

Radbourne added that theatre audiences commented on production qualities. mentioning to the originative lighting design. the set design. the usage of piano to heighten the diaglogue. the book and the content of the drama. and the trade of the histrion. The genuineness of the public presentation and their ain emotional perceptual experience associated with world or credibility as factors in their experience of quality. Artistic accomplishments that appeared to the audience to belong to that one public presentation were a often celebrated trait of artistic genuineness. and were possibly pay-off for the hazard they had taken in go toing ( 2009 ) .

Mienczakowski discusses that in theatre. the usage of public presentation concepts and conventions in the reading which includes affectional. physical. and. at times. facing attacks to explicating or construing the experiences of ‘the other’ . He besides states that an docket of duty and purpose implicit in the public presentation and its clear potency to act upon broad audiences ( 2009 ) .

Chapter 3

LITERARY RESEARCH METHODOLOGY
This chapter shows the processs in garnering the information and other related mentions in understanding the Aesthetic Experience in Theater and the “I” of the Beholder.

Research Method Used
This survey presents a descriptive analysis that supports this research. and every bit good as introduces the research attack and theoretical techniques applied. Descriptive research design is a scientific method which involves detecting and depicting the behaviour of a topic without act uponing it in any manner ( http: //experiment-resources. com/descriptive-research-design ) . Descriptive analysis provides an overview of the reading by reading and garnering the salient points and other related mentions in understanding Aesthetic Experience in Theater and the “I” of the Beholder that delves in the secret plan constructions of the five selected narratives. the fictional subjects ; and the surroundings of the Medieval England signified by the secret plan constructions and subjects.

Beginnings of Datas
This research presents Aesthetic Experience in Theater and the “I” of the Beholder different information to turn out the importance of the survey. Secondary beginnings like: diaries. unpublished studies. thesis. thesiss. and electronic beginnings besides used to expose and intensify the capable affair under the visible radiation of different writers to cast on the focal point of the survey.

Research Procedure
This research follows three stages: the analysis of the public presentation of the histrions on phase. the analysis of the response of the audience. and the analysis of the influence of theatre to both the histrions and the audience.

Analysis of the Performance of the Actors. The experience of the histrions on theatre has something to make with their ( a ) their readying for the function and duologue with the character within his portion. ( B ) his hunt for integrity and rightness. harmonious correspondence between executing ‘self’ and impersonated ‘character’ ( degree Celsius ) the chances for impressive shows of theatrical and dramatic accomplishment offered by the convention of multiple function playing and. ( vitamin D ) his professional purposes vis-a-vis his audience. Therefore. it is ever viewed and considered that the histrions are ever cognizant of their ain changeableness in dramatic individuality and the world that is indispensable to his mundane ego. . Analysis of the Response of the Audience. One of the most of import in theatre is the audience since the experience of the audience in theatre has something to make with their self-awareness. The audience or the ‘I’ of the Beholder in theatre is important since the response of the audience is of import to the performing artists because it gives them worth. The audience in theatre responds to ( a ) centripetal stimulation of the drama ( B ) homo values which is natural in any text or duologue ( degree Celsius ) artistic excellence that is fulfilled in the production and. ( vitamin D ) rational value or the public presentation value that communicates to the thought of the audience.

Plaies contain some ‘hooks’ on which an audience can hang their personal experiences. The drama as it is written needs the interaction with the audience to finish its full significance with the aid of the good performing artists. Analysis of the Influence of theatre to both the histrions and the audience. Both the histrions and the audience have played an of import function to do life of the theatre alive. Performers in the theatre should ever see the value of their endowments as histrions that entertain the audience that hungers for the interpersonal contact. explores issues while conveying people to the same room and most particularly. finish its full significance of their bent ups of life through theatre. People’s lives have been influenced by theatre since it flourishes creativeness. improves students’ faculty members. and a good agencies to develop self-expression. Thus. theatre can be influential in all facets of life. Peoples who are exposed to theater will go more tolerant of sensitive issues. which could make better life conditions globally. In world. theatre can learn valuable accomplishments that can be used in the professional universe.

Plants Cited

A. Book
Artuad. Antonin. The Theater and It’s Double. Copyright @ 1958 by Grove Press. Inc. New York. Freshwater. Helen. Theater and Audience. First
published 2009 by PALGRAVE MACMILLAN. Macmillan Publishers Limited. 785998. Heuvel. Michael Vanden. Performing Drama/Dramatizing Performance: Alternate Theater and the Dramatic Text. Copyright @ by the University of Michigan 1991. The Michigan Press. United States of America. Melnick. Ralph. The Life and Work of Ludwig Lewisohn. Copyright @ 1998 by Wayne State University Press. Detroit. Michigan 42801. Muas. Katharine Eisaman. Inwardness and Theater in English Renaissance. The University of Chicago Press. Chicago. @ 1995 University of Chicago. United States of America. Stumpf. Samuel Enoch. Socrates to Sarte: A History of Philosophy. McGraw-Hill Book Co. Copyright @ 1999 by McGraw-Hill Book Companies. Inc. 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. Cohen. Cynthia. Creative Approaches to Reconciliation. Brandeis University. pp. 4-9 Grove. Stephen J. and Fisk. Raymond P. The Service Experience As Theater in Advances in Consumer Research Vol. 19. explosive detection systems. . John F. Sherry. Jr. and Brian Sternthal. Progresss in Consumer Research Vol. 19: Association for Consumer Research. pages 455-461. Guyer. Paul. Kant’s Theory of Taste: A Reading of the Critique of Aesthetic Judgment ( reappraisal ) . 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: Aestheticss. The University of Chicago. 2003.

Mienczakowski. Jim. Feigning to cognize: descriptive anthropology. prowess. and audience. Ethnography and Education. Volume 4. Issue 3. 2009 Particular Issue: Switching boundaries in ethnographic methodological analysis

Pardue. Karen T. Introducing Readers Theater: A Strategy to Foster Aesthetic Knowing in Nursing. Nurse Educator: March/April 2004 – Volume 29 – Issue 2 – pp 58-62 Raben. Rachel Anderson. The Nature Theater of Oklahoma’s Aesthetics of Fun. TDR: The Drama Review 54. 4 ( 2010 ) : 81-98. Radbourne. Jennifer. et Al. The Audience Experience: Measuring Quality in the Performing Arts.
International Journal of Arts Management ; Spring 2009 ; 11. 3 ; ABI/INFORM Global pg. 16. Ruskin. Ellen. Nonverbal Communication and Early Language Acquisition in Children. Journal of Speech Research. Vol. 38. 157-167. February 2005. Wells. Bill. Intonation Abilities of Children With Speech and Language Impairments. Journal of Speech. Language. and Hearing Research. Vol 46 ( 1 ) . Feb 2003. 5-20. C. ELECTRONIC SOURCES

Bruch. Debra. The Experience of Theater. A Guide to Analyzing the Relationship Between Engineering and Theatre. hypertext transfer protocol: //dbruch. hypermart. net/engineer/exper. hypertext markup language Budd. Malcolm ( 1998 ) . Aesthetics. In E. Craig ( Ed. ) . Routledge Encyclopedia of Philosophy. London: Routledge. Retrieved September 27. 2012. from hypertext transfer protocol: //www. rep. routledge. com/article/M046. Case. Gretchen A. ; & A ; Micco. Guy. ( 2006 ) . Moral Imagination Takes the Phase: Readers’ Theater in a Medical Context. Journal for Learning through the Arts. 2 ( 1 ) . Retrieved from: hypertext transfer protocol: //escholarship. org/uc/item/7380r49s Nie. Jing. Staging Spatial Conflicts and Affect in Emotional Postsocialism: Meng Jinghui’s Theater. The China Review. Vol. 11. No. 1 ( 2011 ) . TheFreeDictionary by Farlex hypertext transfer protocol: //www. thefreedictionary. com Copyright @ 2012 by Farlex. Inc.