Arthur Lessac’s Embodied Actor Training
Autor Melissa Hurten Limba Engleză Paperback – iun 2017
Melissa Hurt uses Maurice Merleau-Ponty's theories of embodiment to frame Lessac's approach in terms of Embodied Acting, a key subject in contemporary performance. In doing so, she explains how the actor can come to experience both technique and expression as a subjective whole, through meditation and spatial attunement.
As well as feeding this somatic approach into a wider discussion of embodiment, the author provides concrete examples of how the practice can be put into effect, and studied at university level.
| Toate formatele și edițiile | Preț | Express |
|---|---|---|
| Paperback (1) | 412.13 lei 6-8 săpt. | |
| Taylor & Francis – iun 2017 | 412.13 lei 6-8 săpt. | |
| Hardback (1) | 1053.22 lei 6-8 săpt. | |
| Taylor & Francis – 27 feb 2014 | 1053.22 lei 6-8 săpt. |
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Specificații
ISBN-13: 9781138094062
ISBN-10: 1138094064
Pagini: 134
Dimensiuni: 152 x 229 x 7 mm
Greutate: 0.21 kg
Ediția:1
Editura: Taylor & Francis
Colecția Routledge
Locul publicării:Oxford, United Kingdom
ISBN-10: 1138094064
Pagini: 134
Dimensiuni: 152 x 229 x 7 mm
Greutate: 0.21 kg
Ediția:1
Editura: Taylor & Francis
Colecția Routledge
Locul publicării:Oxford, United Kingdom
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Public țintă
Postgraduate and UndergraduateCuprins
I. ARTHUR LESSAC’S KINESENSICS AND EMBODIED ACTOR TRAINING
Contemporary Embodied Actor Training
The Pedagogical Challenges of an Embodied Practice
Methods
II. GETTING TO KNOW YOU
Back to Basics: Body Wisdom
Feeling the Process Within: Breath
Body Esthetics
Gestalt
III. BRAIDING PERCEPTIONS THROUGH HEIGHTENED AWARENESS
The Familiar Event Principle and Organic Instruction
Attention
Habitual Awareness Principle and De-Patterning Principle
The Braiding of Perceptions Through Gestalt
The Flow Between Body Esthetics, the Familiar Event Principle, and Organic
Instruction
IV. THE ACTOR’S RELATIONSHIP WITH SPACE
The Actor’s Inner Space
The Actor Inhabits Space
An Expressive Other
V. SPONTANEOUSLY FREE
Braiding of the Sentient and Sensible
Subjectivity in Performance
Accomplishing Dual Consciousness
AFTERWORD
A Word on the Importance of Trust
APPENDIX A: SELECT TIMELINE OF ARTHUR LESSAC’S LIFE AND
CAREER
APPENDIX B: SAMPLE CURRICULUM
APPENDIX C: EXPLORATIONS FOR PERSONAL DISCOVERY
Contemporary Embodied Actor Training
The Pedagogical Challenges of an Embodied Practice
Methods
II. GETTING TO KNOW YOU
Back to Basics: Body Wisdom
Feeling the Process Within: Breath
Body Esthetics
Gestalt
III. BRAIDING PERCEPTIONS THROUGH HEIGHTENED AWARENESS
The Familiar Event Principle and Organic Instruction
Attention
Habitual Awareness Principle and De-Patterning Principle
The Braiding of Perceptions Through Gestalt
The Flow Between Body Esthetics, the Familiar Event Principle, and Organic
Instruction
IV. THE ACTOR’S RELATIONSHIP WITH SPACE
The Actor’s Inner Space
The Actor Inhabits Space
An Expressive Other
V. SPONTANEOUSLY FREE
Braiding of the Sentient and Sensible
Subjectivity in Performance
Accomplishing Dual Consciousness
AFTERWORD
A Word on the Importance of Trust
APPENDIX A: SELECT TIMELINE OF ARTHUR LESSAC’S LIFE AND
CAREER
APPENDIX B: SAMPLE CURRICULUM
APPENDIX C: EXPLORATIONS FOR PERSONAL DISCOVERY
Notă biografică
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.
Descriere
This book situates the work of the renowned voice and movement trainer Arthur Lessac in the context of contemporary actor training as a whole.
Melissa Hurt uses Maurice Merleau-Ponty's theories of embodiment to frame Lessac's approach in terms of Embodied Acting, a key subject in contemporary performance. In doing so, she explains how the actor can come to experience both technique and expression as a subjective whole, through meditation and spatial attunement.
As well as feeding this somatic approach into a wider discussion of embodiment, the author provides concrete examples of how the practice can be put into effect, and studied at university level.
Melissa Hurt uses Maurice Merleau-Ponty's theories of embodiment to frame Lessac's approach in terms of Embodied Acting, a key subject in contemporary performance. In doing so, she explains how the actor can come to experience both technique and expression as a subjective whole, through meditation and spatial attunement.
As well as feeding this somatic approach into a wider discussion of embodiment, the author provides concrete examples of how the practice can be put into effect, and studied at university level.