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Zusatztext Why Do Actors Train? is a thoroughly considered analysis of what is happening at the site of performance. I felt invited to encounter myself as a performer and a human being through a different lens, thus reconsidering myself onstage and off. Informationen zum Autor Brad Krumholz is Assistant Professor and Head of Production for the Theatre Department at Hunter College, NY, USA. He is also Executive Artistic Director and Co-Founder of North American Cultural Laboratory (www.NACL.org). His recent publications include "The Problem of Movement Theatre" in Movement for Actors (Methuen Drama, 2013) and “Locating the Ensemble: NACL Theatre and the Ethics of Collaboration” in Encountering Ensemble (Methuen Drama, 2013). Klappentext How are we to understand the actor's work as a fully embodied process? 'Embodied cognition' is a branch of contemporary philosophy which attempts to frame human understanding as fully embodied interaction with the environment. Engaging with ideas of contemporary significance from neuroscience, psychology, linguistics, and philosophy, Why Do Actors Train? challenges the outmoded dualistic notions of body and mind that permeate common conceptions of how actors work. Theories of embodiment are drawn up to shed important light on the ways and reasons actors do what they do. Through detailed, step-by-step analyses of specific actor-training exercises, the author examines the tools that actors use to bring life and meaning to the stage. This book provides theatre practitioners and scholars alike with a new lens to re-examine the craft of acting, offering a framework to understand the art form as one that is fundamentally grounded in embodied experience. Vorwort Theorizes the actor's craft as a fully embodied process of interaction with the environment by engaging with neuroscience, psychology, linguistics, embodied cognition, and other branches of philosophy. Zusammenfassung How are we to understand the actor’s work as a fully embodied process?'Embodied cognition' is a branch of contemporary philosophy which attempts to frame human understanding as fully embodied interaction with the environment. Engaging with ideas of contemporary significance from neuroscience, psychology, linguistics, and philosophy, Why Do Actors Train? challenges the outmoded dualistic notions of body and mind that permeate common conceptions of how actors work. Theories of embodiment are drawn up to shed important light on the ways and reasons actors do what they do.Through detailed, step-by-step analyses of specific actor-training exercises, the author examines the tools that actors use to bring life and meaning to the stage. This book provides theatre practitioners and scholars alike with a new lens to re-examine the craft of acting, offering a framework to understand the art form as one that is fundamentally grounded in embodied experience. Inhaltsverzeichnis Overview i.What A Body Can Be - Defining Our Subject ii.The Trouble with Mind/Body Dualism iii.Embodied Cognition Defined iv.Performance Philosophy - Contours of The Field v.Acting and Technique vi.Performance Styles Considered vii.Making Meaning through Acting viii.My Methodology ix.Structure of This Book Part One: Action in Theory and Practice i.Introduction ii.Training Exercises and The Plastiques iii.Approaching Action through Wittgenstein a.What Is Intention? iv.Principles of Scenic Behavior a.Mark Johnson and Image Schemas v.Maxine Sheets-Johnstone and Animate Forms vi.Where Is Meaning Located? vii.The Importance of Interaction viii.Concluding Thoughts Part Two: Encountering Perception and Proprioception in The Actor's Craft i.Introduction ii.The 3 Layers of Actor Training iii.Alva Noë and The Enactive View iv.The Role of Attention v.Proprioception: Body Image and Body Schema vi.Dyn...
