Why Do Actors Train?: Embodiment for Theatre Makers and Thinkers

ISBN-13: 9781350236967 / Angielski / Twarda / 2023 / 256 str.

USA) Krumholz Brad (Hunter College

Spis treści

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.Dynamic Space vii.Competency and Presence viii.Ways of Seeing ix.Bodies Working Together x.Achieving Fluency xi.Concluding Thoughts Part Three: Approaching The Voice beyond The Word i.Introduction ii.The Voice as Action iii.Theorizing Sound and Voice iv.Awakening The Resonators v.Kreiman and Sidtis: Voice and Voice Quality vi.The Embodied Voice vii.The Components of Prosody viii.Listening ix.Gesture and Speech, Connected x.Simulation and Vocal Production xi.The Embodied Voice and Sociality xii.Theatre as A Site of Engagement xiii.Concluding Thoughts Afterthinking i.Introduction ii.An Enactive Theory of Emotion iii.Imagination as An Embodied Process iv.Some Possible Concerns about This Book a.Ethnographic Challenges b.Epistemological Uncertainty c.Other Limitations v.Escaping The Dualistic Language Trap vi.The Proficiency Model: Real Life Benefits of Actor Training vii.Concluding Thoughts Bibliography Index