Buddhism As/in Performance: Analysis of Meditation and Theatrical Practice
It Explores The Art And Concept Of Performance In Varied Buddhist Traditions Chinese, Japanese, Sri Lankan And Others. It Explains Theatrical Performances Representing Hinayana, Mahayana And Vajrayana Cultures, With Extensive Endnotes And Bibliographical References.
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The Epistemology of Performance
The World as Performance
The Hinayana Sri Lanka
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achieve actor aesthetic already anatta argued audience Avalokitesvara basic become Beyer bodhisattva Buddha Buddhahood Buddhist Philosophy Ceylon Ch'an Ch'en Chams chanting Chinese cognitive Colombo compassion concept consciousness create culture dance dance-drama dancers deconstruction deity Delhi demons dharmas doctrine Drama early Buddhism empty enlightenment epistemology Evans-Wentz existence exorcist experience flower gods Govinda Hana Hinayana Hindu historical Hua-Yen Ibid illusion Japan Japanese Kandy karma lamas Mahayana Mahayanist mandala mask means meditation metaphysics mind moments monks Nebesky-Wojkowitz nirvana Noh plays object origin Padmasambhava paradigm path perception Performance Art person practice pratyaksa radically reality realization religion religious Rimdu Rinpoche rites ritual sambhogakaya samurai Sarugaku satori sects sense Shamanistic Shinto shite simultaneously skandhas spectator Sri Lanka stage sunyata Sutra Suzuki symbolic Tantra Tantric tathata technique temporality Tengpoche theatre theatrical theory Theravada things Tibet Tibetan transcended trikaya truth Tucci unique University Vajrayana visualization Western writes Zeami