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A pragmatic intervention in the study of how recent discoveries within cognitive science can and should be applied to performance. Drawing on his experience the author interrogates the key cognitive activities involved in performance inc non-verbal communication; thought, speech, and gesture relationships; empathy, imagination, and emotion.
‘A focus on the body, its actions, and its cognitive mechanisms identifies ... foundational principles of activity that link the three elements of theatre; Story, Space, and Time. The three meet in, are defined by, and expressed through the actor’s body.’ – from the Introduction Embodied Acting is an essential, pragmatic intervention in the study of how recent discoveries within cognitive science can – and should – be applied to performance. For too long, a conceptual separation of mind and body has dominated actor training in the West. Cognitive science has shown this binary to be illusory, shattering the traditional boundaries between mind and body, reason and emotion, knowledge and imagination. This revolutionary new volume explores the impact that a more holistic approach to the "bodymind" can have on the acting process. Drawing on his experience as an actor, director and scholar, Rick Kemp interrogates the key cognitive activities involved in performance, including: non-verbal communication the relationship between thought, speech, and gesture the relationship between self and character empathy, imagination, and emotion. New perspectives on the work of Stanislavski, Michael Chekhov, and Jacques Lecoq – as well as contemporary practitioners including Daniel Day-Lewis and Katie Mitchell – are explored through practical exercises and accessible explanations. Blending theory, practice, and cutting-edge neuroscience, Kemp presents a radical re-examination of the unconscious activities engaged in creating, and presenting, a role.
A pragmatic intervention in the study of how recent discoveries within cognitive science can and should be applied to performance. Drawing on his experience the author interrogates the key cognitive activities involved in performance inc non-verbal communication; thought, speech, and gesture relationships; empathy, imagination, and emotion.
Exercises for Embodied Actors by Scott Illingworth Pdf
Exercises for Embodied Actors: Tools for Physical Actioning builds on the vocabulary of simple action verbs to generate an entire set of practical tools from first read to performance that harnesses modern knowledge about the integration of the mind and the rest of the body. Including over 50 innovative exercises, the book leads actors through a rigorous examination of their own habits, links those discoveries to creating characters, and offers dozens of exercises to explore in classrooms and with ensembles. The result is a modern toolkit that empowers actors to start from their own unique selves and delivers specific techniques to apply on stage and in front of the camera. This step-by-step guide can be used by actors working individually or by teachers crafting the arc of a course, ensuring that students explore in physically engaged and dynamic ways at every step of their process.
Embodied Cognition, Acting and Performance by Experience Bryon,J. Mark Bishop,Deirdre McLaughlin,Jess Kaufman Pdf
In this collection of essays, the four branches of radical cognitive science—embodied, embedded, enactive and ecological—will dialogue with performance, with particular focus on post-cognitivist approaches to understanding the embodied mind-in-society; de-emphasising the computational and representational metaphors; and embracing new conceptualisations grounded on the dynamic interactions of "brain, body and world". In our collection, radical cognitive science reaches out to areas of scholarship also explored in the fields of performance practice and training as we facilitate a new inter- and transdisciplinary discourse in which to jointly share and explore common reactions of embodied approaches to the lived mind. The essays originally published as a special issue in Connection Science.
Handbook of Embodied Psychology by Michael D. Robinson,Laura E. Thomas Pdf
This edited volume seeks to integrate research and scholarship on the topic of embodiment, with the idea being that thinking and feeling are often grounded in more concrete representations related to perception and action. The book centers on psychological approaches to embodiment and includes chapters speaking to development as well as clinical issues, though a larger number focus on topics related to cognition and neuroscience as well as social and personality psychology. These topical chapters are linked to theory-based chapters centered on interoception, grounded cognition, conceptual metaphor, and the extended mind thesis. Further, a concluding section speaks to critical issues such as replication concerns, alternative interpretations, and future directions. The final result is a carefully conceived product that is a comprehensive and well-integrated volume on the psychology of embodiment. The primary audience for this book is academic psychologists from many different areas of psychology (e.g., social, developmental, cognitive, clinical). The secondary audience consists of disciplines in which ideas related to embodied cognition figure prominently, such as counseling, education, biology, and philosophy.
Rhythm in Acting and Performance by Eilon Morris Pdf
Rhythm is often referred to as one of the key elements of performance and acting, being of central importance to both performance making and training. Yet what is meant by this term and how it is approached and applied in this context are subjects seldom discussed in detail. Addressing these, Rhythm in Acting and Performance explores the meanings, mechanisms and metaphors associated with rhythm in this field, offering an overview and analysis of the ways rhythm has been, and is embodied and understood by performers, directors, educators, playwrights, designers and scholars. From the rhythmic movements and speech of actors in ancient Greece, to Stanislavski's use of Tempo-rhythm as a tool for building a character and tapping emotions, continuing through to the use of rhythm and musicality in contemporary approaches to actor training and dramaturgy, this subject finds resonance across a broad range of performance domains. In these settings, rhythm has often been identified as an effective tool for developing the coordination and conscious awareness of individual performers, ensembles and their immediate relationship to an audience. This text examines the principles and techniques underlying these processes, focusing on key approaches adopted and developed within European and American performance practices over the last century. Interviews and case studies of individual practitioners, offer insight into the ways rhythm is approached and utilised within this field. Each of these sections includes practical examples as well as analytical reflections, offering a basis for comparing both the common threads and the broad differences that can be found here. Unpacking this often mystified and neglected subject, this book offers students and practitioners a wealth of informative and useful insights to aid and inspire further creative and academic explorations of rhythm within this field.
Arthur Lessac’s Embodied Actor Training by Melissa Hurt Pdf
Arthur Lessac’s Embodied Actor Training situates the work of renowned voice and movement trainer Arthur Lessac in the context of contemporary actor training. Supported by the work of Constantin Stanislavsky and Maurice Merleau-Ponty's theories of embodiment, the book explores Lessac's practice in terms of embodied acting, a key subject in contemporary performance. In doing so, the author explains how the actor can come to experience both skill and expression as a subjective whole through active meditation and spatial attunement. As well as feeding this psychophysical approach into a wider discussion of embodiment, the book provides concrete examples of how the practice can be put into effect. Using insights gleaned from interviews conducted with Lessac and his Master Teachers, the author enlightens our own understanding of Lessac’s practices. Three valuable appendices enhance the reader’s experience. These include: a biographical timeline of Lessac’s life and career sample curricula and a lesson plan for teachers at university level explorations for personal discovery Melissa Hurt is a Lessac Certified Trainer and has taught acting and Lessac’s voice, speech, and movement work at colleges across the United States. She has a PhD from the University of Oregon and an MFA from Virginia Commonwealth University.
Embodied Cognition, Acting and Performance by Experience Bryon,J. Mark Bishop,Deirdre McLaughlin,Jess Kaufman Pdf
In this collection of essays, the four branches of radical cognitive science—embodied, embedded, enactive and ecological—will dialogue with performance, with particular focus on post-cognitivist approaches to understanding the embodied mind-in-society; de-emphasising the computational and representational metaphors; and embracing new conceptualisations grounded on the dynamic interactions of "brain, body and world". In our collection, radical cognitive science reaches out to areas of scholarship also explored in the fields of performance practice and training as we facilitate a new inter- and transdisciplinary discourse in which to jointly share and explore common reactions of embodied approaches to the lived mind. The essays originally published as a special issue in Connection Science.
(toward) a phenomenology of acting by Phillip Zarrilli Pdf
In (toward) a phenomenology of acting, Phillip Zarrilli considers acting as a ‘question’ to be explored in the studio and then reflected upon. This book is a vital response to Jerzy Grotowski’s essential question: "How does the actor ‘touch that which is untouchable?’" Phenomenology invites us to listen to "the things themselves", to be attentive to how we sensorially, kinesthetically, and affectively engage with acting as a phenomenon and process. Using detailed first-person accounts of acting across a variety of dramaturgies and performances from Beckett to newly co-created performances to realism, it provides an account of how we ‘do’ or practice phenomenology when training, performing, directing, or teaching. Zarrilli brings a wealth of international and intercultural experience as a director, performer, and teacher to this major new contribution both to the practices of acting and to how we can reflect in depth on those practices. An advanced study for actors, directors, and teachers of acting that is ideal for both the training/rehearsal studio and research, (toward) a phenomenology of acting is an exciting move forward in the philosophical understanding of acting as an embodied practice.
Based on the latest research from the fields of neuroscience and mind-body psychology, Acting With Passion offers a revolutionary new approach to the age-old problems of the actor: dealing with nerves, engaging the body, quieting the inner critic, auditioning, creating a character, and even playing comedy. With this step-by-step guide, actors who have struggled with 'visualization' and 'emotional recall' can learn an alternative method of accessing feelings through the release of chronic, subtle muscular tensions that connect into the brain at lightning fast speed and can actually produce emotions on cue. Written with verve and accessibility, and using practical exercises to guide the actor through each stage, Acting With Passion is the must-have text for actors seeking that magical 'state of aliveness'.
Arthur Lessac's Embodied Actor Training by Melissa Hurt Pdf
Arthur Lessac’s Embodied Actor Training situates the work of renowned voice and movement trainer Arthur Lessac in the context of contemporary actor training. Supported by the work of Constantin Stanislavsky and Maurice Merleau-Ponty's theories of embodiment, the book explores Lessac's practice in terms of embodied acting, a key subject in contemporary performance. In doing so, the author explains how the actor can come to experience both skill and expression as a subjective whole through active meditation and spatial attunement. As well as feeding this psychophysical approach into a wider discussion of embodiment, the book provides concrete examples of how the practice can be put into effect. Using insights gleaned from interviews conducted with Lessac and his Master Teachers, the author enlightens our own understanding of Lessac’s practices. Three valuable appendices enhance the reader’s experience. These include: a biographical timeline of Lessac’s life and career sample curricula and a lesson plan for teachers at university level explorations for personal discovery Melissa Hurt is a Lessac Certified Trainer and has taught acting and Lessac’s voice, speech, and movement work at colleges across the United States. She has a PhD from the University of Oregon and an MFA from Virginia Commonwealth University.
In this book, educator-actor-playwright-director Elizabeth Hess offers systematic and original explorations in performance technique. This hybrid approach is a fusion of physical theater modalities culled from Western practices (Psycho-physical actions, Viewpoints) Eastern practices (Butoh, Kundalini yoga) and related performance disciplines (Mask, Puppetry). Behavioral, physiological and psychological ‘states of being’ are engaged to unlock impulses, access experience and enlarge the imagination. Through individual, partnered and collective explorations, actors uncover a character’s essence and level of consciousness, their energy center and body language, and their archetype and relationship to universal themes. Magic (to pretend, as if), Metaphor (to compare, as like) and Myth (to pattern after, as in) provide the foundation for generating transformative, empathetic and expansive artistic expression. Explorations can be adapted to character work, scene study and production, including original/devised work and established text, to illuminate singular and surprising work through collaborative creativity that is inventive, inclusive and alive.
"TEAM for Actors gives you reliable tools for successful acting and helps resolve a common gap between the mind and body so you can create a dynamic, holistic performance."--Back cover.
A primer in the highly effective "Whelan Tape Method" -- actors will learn how a simple tape recorder can take them to new levels of physical and emotional connection with their characters.