Embodied Acting is a crucial, pragmatic intervention in the study of how neuroscience can be applied to theatre studies. Examining the nature of the acting process from the perspective of cognitive science, author Rick Kemp re-examines familiar questions of how an actor develops a character, and what is actually involved - physically, mentally - in training, rehearsing and performing. The result is an elegant blend of theory, practice and cutting-edge science, making a compelling case for discarding, once and for all, notions of a mind-body separation having any relevance to contemporary actor training.…mehr
Embodied Acting is a crucial, pragmatic intervention in the study of how neuroscience can be applied to theatre studies. Examining the nature of the acting process from the perspective of cognitive science, author Rick Kemp re-examines familiar questions of how an actor develops a character, and what is actually involved - physically, mentally - in training, rehearsing and performing. The result is an elegant blend of theory, practice and cutting-edge science, making a compelling case for discarding, once and for all, notions of a mind-body separation having any relevance to contemporary actor training.
Rick Kemp (aka Rick Zoltowski) has worked as an actor and director with companies such as the Almeida, Complicite, Commotion, Quantum, and Squonk Opera. He holds an MA from Oxford University, an MFA and a PhD from the University of Pittsburgh, and teaches at Indiana University of Pennsylvania, USA.
Inhaltsangabe
Chapter 1 Why should theatre people be interested in cognitive studies? Chapter 2 How does the actor communicate meaning non-verbally? Chapter 3 What is the relationship between thought, physical action, and language? Chapter 4 How does the actor create a character? Chapter 5 How does the actor identify with the character? Chapter 6 How does the actor embody emotion in fictional circumstances? conclusion Conclusion
Chapter 1 Why should theatre people be interested in cognitive studies? Chapter 2 How does the actor communicate meaning non-verbally? Chapter 3 What is the relationship between thought, physical action, and language? Chapter 4 How does the actor create a character? Chapter 5 How does the actor identify with the character? Chapter 6 How does the actor embody emotion in fictional circumstances? conclusion Conclusion
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