Diderot’s body and cognitive science: sensation, impulse and action in performer training

Rea Dennis*, Lisa Lewis

*Awdur cyfatebol y gwaith hwn

Allbwn ymchwil: Cyfraniad at gyfnodolynErthygladolygiad gan gymheiriaid

86 Wedi eu Llwytho i Lawr (Pure)

Crynodeb

This essay places Diderot’s materialist philosophy articulated in Paradox of the Actor in the late nineteenth century, alongside emerging thinking from neurobiology. Taking Diderot’s pursuit for the recognition acting as an art as a point of departure, it reflects on the labour of the actor as awareness within multiple cognitions: impulse, sensation and action. The discussion maps various examples including Stanislavsky in the early 1900s through to contemporary more regulated techniques like Susana Bloch’s Alba Emoting method and Phillip Zarrilli’s psychophysical approach. It considers the language of neuroscience in explicating the nuances of technique in acting and proposes that good acting requires a mastery of self at a neural level.

Iaith wreiddiolSaesneg
Tudalennau (o-i)1-12
Nifer y tudalennau12
CyfnodolynStudies in Theatre and Performance
Dyddiad ar-lein cynnar29 Rhag 2016
Dynodwyr Gwrthrych Digidol (DOIs)
StatwsE-gyhoeddi cyn argraffu - 29 Rhag 2016

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