Screen Acting: A Cognitive Approach

ISBN-13: 9781474484138 / Angielski / Twarda / 2022 / 212 str.

Dan Leberg

Spis treści

Acknowledgements; Dedication; Introduction:The Missing Parts; 1. The Moving Parts; Cognitive Theatre Studies and Acting; Neurophenomenology and Actors’ Bodyminds; Conceptual Blending and Acting; Distributed Cognition and Cognitive Ecologies; Television Studies and Acting; 2. All By Our Selves: Empathy and Acting; Situational and Selfless Selfhood; Empathy; Empathy, Stanislavsky, and Chekhov; Embodied Simulation and Cognitive Scaffolding; Phenomenological Empathy and Coplan’s Criteria; Connections are more than Imitations: Stein’s Intentional Pull; Coplan and Decety’s Criteria for Empathy; The Project Ahead: Screen Actors as Solicitors of Empathy; 3. The Actor’s Three Empathetic Connections; Intrasubjective Empathy; Coplan’s Criteria and Intrasubjective Connections; Intrasubjective Case Study: Lee Strasberg and the Affective Memory; Intersubjective Empathy; Intersubjective Case Study: Sanford Meisner and the Repetition Game; Performative Empathy Conclusion: "Camera rolling… and, action!"; 4. Acting Culture and Audition Preparation; Practice, Constraint, and Affordance; "It’s nice work if you can get it…": Auditions and Precarity; "Hurry Up And Wait"; Audition Logistics and Empathy; Empathetic Connections for Audition Performances; Auditions, Empathy, and Creative Guesswork; Intersubjective Opportunities During the Call-Back; 5. Empathetic Work Prior to Shooting; From Guesswork to Scaffolding; Tactics for Screenplay Analysis and Intrasubjective Connections; A Note on Terminology; "Bottom-up Script Analysis": Extrapolating Specific Memories into Emotional Common Denominators; "Top-down Script Analysis": Imagination, Abstraction, Archetype; Case Study: Toronto’s Professional Actors Lab; Top-Down Archetypes as Personal Reference Points; Cayonne’s Minotaur: Balancing Memory and Imagination to find the character’s body schema; Conclusion: Arriving On Set; 6. Empathy On Set; Actors and Production Culture: Inductive, Ecumenical, and Self-Effacing Practices On-Set; The Actor and The Camera: Habits, Techniques, and Technology; Metaphors of Trust for the Camera; Relatability Revisited; The Other Actor – Creative Labour and Intersubjective Empathy On Set; Dinicol’s Jazz: Habits of Fostering Spontaneity through Structured Improvisation; Habits of Comedic Screen Acting: Tennis Matches and McCarthy’s Symphony; "Make it Work": Habits for Breaking Creative Mismatches; Real Fake Tears, and Talking to Tennis Balls: Incorporating Production Conditions into Acting Choices Lisinska’s Tears: Acting with Set-Specific Affordances; Performative Adjustments: Talking to Tennis Balls; Conclusion; 7. Conclusion: "Ready for My Close-Up"; Histories of Force And Eloquence; Jared Leto’s "package pranks"; Diane Keaton, Meisner, and Annie Hall; Future Project 2 - Collective Cognition and Production Studies; Future Project 3 - Sympathy for Kuleshov: (Re-)Introducing Acting to Film Form; Acting Studies and Resets; Works Cited