Toward a General Theory of Acting explores the actor's art through the lens of Dynamic Systems Theory and recent findings in the Cognitive Sciences. An analysis of different theories of acting in the West from Stanislavski to Lecoq is followed by an in depth discussion of technique, improvisation, and creating a score. In the final chapter, the focus shifts to how these three are interwoven when the actor steps in front of an audience, whether performing realist, non-realist, or postdramatic theatre. Far from using the sciences to reduce acting to a formula, Lutterbie celebrates the mystery of the creative process.
Toward a General Theory of Acting explores the actor's art through the lens of Dynamic Systems Theory and recent findings in the Cognitive Sciences. An analysis of different theories of acting in the West from Stanislavski to Lecoq is followed by an in depth discussion of technique, improvisation, and creating a score. In the final chapter, the focus shifts to how these three are interwoven when the actor steps in front of an audience, whether performing realist, non-realist, or postdramatic theatre. Far from using the sciences to reduce acting to a formula, Lutterbie celebrates the mystery of the creative process.
In this book, Myles Brand ushers in a third exciting stage, linking the philosophical with the scientific study of action, with psychology and artificial intelligence.
This is the first textbook designed for students, practitioners and scholars of the performing arts who are curious about the power of the cognitive sciences to throw light on the processes of performance. It equips readers with a clear understanding of how research in cognitive neuroscience has illuminated and expanded traditional approaches to thinking about topics such as the performer, the spectator, space and time, culture, and the text. Each chapter considers four layers of performance: conventional forms of theatre, performance art, and everyday life, offering an expansive vision of the impact of the cognitive sciences on performance in the widest sense. Written in an approachable style, An Introduction to Theatre, Performance and the Cognitive Sciences weaves together case studies of a wide range of performances with scientific evidence and post-structural theory. Artists such as Robert Wilson, Societas Raffaello Sanzio, Ariane Mnouchkine, Bertolt Brecht, and Antonin Artaud are brought into conversation with theories of Gilles Deleuze, Shaun Gallagher, Alva Noë, Tim Ingold and the science of V. S. Ramachandran, Vittorio Gallese, and Antonio Damasio. John Lutterbie offers a complex understanding of not only the act of performing but the forces that mark the place of theatre in contemporary society. In drawing on a variety of scientific articles, Lutterbie provides readers with an accessible account of significant research in areas in the field and reveals how the sciences can help us understand the experience of art.
This is the first English translation of the seminal book by Katharina Reiß and Hans Vermeer, Grundlegung einer allgemeinen Translationstheorie, first published in 1984. The first part of the book was written by Vermeer and explains the theoretical foundations and basic principles of skopos theory as a general theory of translation and interpreting or ‘translational action’, whereas the second part, penned by Katharina Reiß, seeks to integrate her text-typological approach, first presented in 1971, as a ‘specific theory’ that focuses on those cases in which the skopos requires equivalence of functions between the source and target texts. Almost 30 years after it first appeared, this key publication is now finally accessible to the next generations of translation scholars. In her translation, Christiane Nord attempts to put skopos theory and her own concept of ‘function plus loyalty’ to the test, by producing a comprehensible, acceptable text for a rather heterogeneous audience of English-speaking students and scholars all over the world, at the same time as acting as a loyal intermediary for the authors, to whom she feels deeply indebted as a former student and colleague.
John Maynard Keynes is the great British economist of the twentieth century whose hugely influential work The General Theory of Employment, Interest and * is undoubtedly the century's most important book on economics--strongly influencing economic theory and practice, particularly with regard to the role of government in stimulating and regulating a nation's economic life. Keynes's work has undergone significant revaluation in recent years, and "Keynesian" views which have been widely defended for so long are now perceived as at odds with Keynes's own thinking. Recent scholarship and research has demonstrated considerable rivalry and controversy concerning the proper interpretation of Keynes's works, such that recourse to the original text is all the more important. Although considered by a few critics that the sentence structures of the book are quite incomprehensible and almost unbearable to read, the book is an essential reading for all those who desire a basic education in economics. The key to understanding Keynes is the notion that at particular times in the business cycle, an economy can become over-productive (or under-consumptive) and thus, a vicious spiral is begun that results in massive layoffs and cuts in production as businesses attempt to equilibrate aggregate supply and demand. Thus, full employment is only one of many or multiple macro equilibria. If an economy reaches an underemployment equilibrium, something is necessary to boost or stimulate demand to produce full employment. This something could be business investment but because of the logic and individualist nature of investment decisions, it is unlikely to rapidly restore full employment. Keynes logically seizes upon the public budget and government expenditures as the quickest way to restore full employment. Borrowing the * to finance the deficit from private households and businesses is a quick, direct way to restore full employment while at the same time, redirecting or siphoning
Acting: The Basics 3rd Edition is a dynamic response to recent societal and entertainment industry changes, focusing on inclusion, diversity and equity, and the actor's trajectory from training to rehearsal to performance on stage and screen, with hands-on tools and global perspectives. The book offers vital ways of building a practical acting toolkit, through breath, body, voice, emotions, imagination and spirit. We begin with a socio-cultural look at actor as magician, storyteller, healer and social changer. Throughout, there are insights from Black, Indigenous, First Nations, South/East Asian, intercultural and feminist practitioners, together with methods focusing on disability and accessibility, intimacy directives, mindfulness and intersectionality. Key 'canonical' figures still feature (e.g., Stanislavsky, Meisner, Brecht and Suzuki) with re-visioned perspective. Scattered throughout are post-COVID insights, plus expanded sections on screen acting (including self-tapes) and Shakespeare. This book is useful for beginner or expert, as it's always helpful getting back to basics. Because the author is both an actor and an actor trainer, the tools are steeped in user-friendly application. At the same time, transferable skills (e.g., dynamic listening and empathy) are shown as relevant to everyone. With a glossary of terms and useful online suggestions (including blogs, videos and podcasts), this is ideal for anyone learn anew about the practice and history of acting, or to take their acting and teaching into new terrain.
The book contains the Proceedings of the 2010 Conference of the Italian Systems Society. Papers deal with the interdisciplinary study of processes of changing related to a wide variety of specific disciplinary aspects. Classical attempts to deal with them, based on generalising approaches used to study the movement of bodies and environmental influence, have included ineffective reductionistic simplifications. Indeed changing also relates, for instance, to processes of acquisition and varying properties such as for software; growing and aging biological systems; learning/cognitive systems; and socio-economic systems growing and developing through innovations. Some approaches to modelling such processes are based on considering changes in structure, e.g., phase-transitions. Other approaches are based on considering (1) periodic changes in structure as for processes of self-organisation; (2) non-periodic but coherent changes in structure, as for processes of emergence; (3) the quantum level of description. Papers in the book study the problem considering its transdisciplinary nature, i.e., systemic properties studied per se and not within specific disciplinary contexts. The aim of these studies is to outline a transdisciplinary theory of change in systemic properties. Such a theory should have simultaneous, corresponding and eventually hierarchical disciplinary aspects as expected for a general theory of emergence. Within this transdisciplinary context, specific disciplinary research activities and results are assumed to be mutually represented as within a philosophical and conceptual framework based on the theoretical centrality of the observer and conceptual non-separability of context and observer, related to logically open systems and Quantum Entanglement. Contributions deal with such issues in interdisciplinary ways considering theoretical aspects and applications from Physics, Cognitive Science, Biology, Artificial Intelligence, Economics, Architecture, Philosophy, Music and Social Systems.
This book examines the theatrical movement-based pedagogy of Jacques Lecoq (1921-1999) through the lens of the cognitive scientific paradigm of enaction. The conversation between these two both uncovers more of the possible cognitive processes at work in Lecoq pedagogy and proposes how Lecoq’s own practical and philosophical approach could have something to offer the development of the enactive paradigm. Understanding Lecoq pedagogy through enaction can shed new light on the ways that movement, key to Lecoq’s own articulation of his pedagogy, might cognitively constitute the development of Lecoq’s ultimate creative figure – the actor-creator. Through an enactive lens, the actor-creator can be understood as not only a creative figure, but also the manifestation of a fundamentally new mode of cognitive selfhood. This book engages with Lecoq pedagogy’s significant practices and principles including the relationship between the instructor and student, identifications, mime, play, mask work, language, improvisation, and movement analysis.
