Why do actors train? : embodiment for theatre makers and thinkers / Brad Krumholz.
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| Format: | Ebook |
| Language: | English |
| Published: |
London :
Bloomsbury Academic,
2023.
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| Online Access: | Click here to view this book |
Table of Contents:
- Overviewi.What A Body Can Be
- Defining Our Subjectii.The Trouble with Mind/Body Dualismiii.Embodied Cognition Definediv.Performance Philosophy
- Contours of The Fieldv.Acting and Techniquevi.Performance Styles Consideredvii.Making Meaning through Actingviii.My Methodologyix.Structure of This BookPart One: Action in Theory and Practicei.Introductionii.Training Exercises and The Plastiquesiii.Approaching Action through Wittgensteina.What Is Intention?iv.Principles of Scenic Behaviora.Mark Johnson and Image Schemas v.Maxine Sheets-Johnstone and Animate Formsvi.Where Is Meaning Located?vii.The Importance of Interactionviii.Concluding ThoughtsPart Two: Encountering Perception and Proprioception in The Actor's Crafti.Introduction ii.The 3 Layers of Actor Trainingiii.Alva Noë and The Enactive Viewiv.The Role of Attentionv.Proprioception: Body Image and Body Schemavi.Dynamic Spacevii.Competency and Presenceviii.Ways of Seeingix.Bodies Working Togetherx.Achieving Fluencyxi.Concluding ThoughtsPart Three: Approaching The Voice beyond The Wordi.Introductionii.The Voice as Actioniii.Theorizing Sound and Voiceiv.Awakening The Resonatorsv.Kreiman and Sidtis: Voice and Voice Qualityvi.The Embodied Voicevii.The Components of Prosodyviii.Listeningix.Gesture and Speech, Connectedx.Simulation and Vocal Productionxi.The Embodied Voice and Socialityxii.Theatre as A Site of Engagementxiii.Concluding ThoughtsAfterthinkingi.Introductionii.An Enactive Theory of Emotioniii.Imagination as An Embodied Processiv.Some Possible Concerns about This Booka.Ethnographic Challengesb.Epistemological Uncertaintyc.Other Limitationsv.Escaping The Dualistic Language Trapvi.The Proficiency Model: Real Life Benefits of Actor Trainingvii.Concluding ThoughtsBibliographyIndex.