Why Do Actors Train?: Embodiment for Theatre Makers and Thinkers
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How are we to understand the actor's work as a fully embodied process? 'Embodied cognition' is a branch of contemporary philosophy which attempts to frame human understanding as fully embodied interaction with the environment. Engaging with ideas of contemporary significance from neuroscience, psychology, linguistics, and philosophy, Why Do Actors Train? challenges the outmoded dualistic notions of body and mind that permeate common conceptions of how actors work. Theories of embodiment are drawn up to shed important light on the ways and reasons actors do what they do. Through detailed, step-by-step analyses of specific actor-training exercises, the author examines the tools that actors use to bring life and meaning to the stage. This book provides theatre practitioners and scholars alike with a new lens to re-examine the craft of acting, offering a framework to understand the art form as one that is fundamentally grounded in embodied experience. Series Page Title Page Copyright Page Dedication Contents Overview What a Body Can Be: Defining Our Subject The Trouble with Mind/Body Dualism Embodied Cognition Defined Performance Philosophy: Contours of the Field Acting and Technique Performance Styles Considered Making Meaning through Acting My Methodology Structure of This Book Chapter 1: Action in Theory and Practice Introduction Training Exercises and the Plastiques Approaching Action through Wittgenstein What Is Intention? Principles of Scenic Behavior Mark Johnson and Image Schemas Maxine Sheets-Johnstone and Animate Forms Where Is Meaning Located? The Importance of Interaction Concluding Thoughts Chapter 2: Encountering Perception and Proprioception in the Actor’s Craft Introduction: The 3 Layers Exercise Alva Noë and the Enactive View The Role of Attention Proprioception: Body Image and Body Schema Dynamic Space Competency and Presence Ways of Seeing Bodies Working Together Achieving Fluency Concluding Thoughts and the Fourth Layer Chapter 3: Approaching the Voice beyond the Word Introduction: Vocal Action Theorizing Sound and Voice Awakening the Resonators Kreiman and Sidtis: Voice and Voice Quality The Embodied Voice The Components of Prosody Listening Gesture and Speech, Connected Simulation and Vocal Production The Embodied Voice and Sociality Theatre as a Site of Engagement Concluding Thoughts Afterthinking Introduction An Enactive Theory of Emotion Imagination as an Embodied Process Some Possible Concerns about This Book Escaping the Dualistic Language Trap The Proficiency Model: Real-life Benefits of Actor Training Concluding Thoughts Notes Bibliography Index
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