Meaning and Diderot’s Body: Sensation, Feeling, Impulse and Action in Performer Training

Lisa Lewis; Rea Dennis

Meaning and Diderot’s Body: Sensation, Feeling, Impulse and Action in Performer Training

Creative Industries Research and Innovation Group

Research output: Contribution to conference › Paper › peer-review

Abstract

This paper places Diderot's materialist philosophy alongside contemporary thinking from neurobiology to form a lens through which to consider the split between technique and feeling in performer training. The paper considers the way Diderot’s philosophical proposition (re) appears over and again as the premise for conceiving acting as a technique and for determining the utility of same. The discussion maps various examples from the approach developed by Stanislavsky in the early 1900s through to the contemporary more regulated design of Susana Bloch’s Alba Emoting method.

Original language	English
Publication status	Published - 2014
Event	Double Dialogues Conference, organized by Deakin, Melbourne, Cardiff, Cardiff Metropolitan and South Wales universities: 'Precursors into the Future': 'Precursors into the Future' - Norwegian Church, Cardiff Bay, Caerdydd Duration: 19 Sept 2014 → 21 Sept 2014

Conference

Conference	Double Dialogues Conference, organized by Deakin, Melbourne, Cardiff, Cardiff Metropolitan and South Wales universities: 'Precursors into the Future'
Abbreviated title	Double Dialogues
City	Caerdydd
Period	19/09/14 → 21/09/14

Cite this

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title = "Meaning and Diderot{\textquoteright}s Body: Sensation, Feeling, Impulse and Action in Performer Training",

abstract = "This paper places Diderot's materialist philosophy alongside contemporary thinking from neurobiology to form a lens through which to consider the split between technique and feeling in performer training. The paper considers the way Diderot{\textquoteright}s philosophical proposition (re) appears over and again as the premise for conceiving acting as a technique and for determining the utility of same. The discussion maps various examples from the approach developed by Stanislavsky in the early 1900s through to the contemporary more regulated design of Susana Bloch{\textquoteright}s Alba Emoting method. ",

keywords = "actor training, Diderot, acting theory, Alba Emoting, neurobiology and acting",

author = "Lisa Lewis and Rea Dennis",

year = "2014",

language = "English",

note = "<br/>Double Dialogues Conference, organized by Deakin, Melbourne, Cardiff, Cardiff Metropolitan and South Wales universities: 'Precursors into the Future' ; Conference date: 19-09-2014 Through 21-09-2014",

}

Meaning and Diderot’s Body: Sensation, Feeling, Impulse and Action in Performer Training. / Lewis, Lisa; Dennis, Rea.
2014. Paper presented at
Double Dialogues Conference, organized by Deakin, Melbourne, Cardiff, Cardiff Metropolitan and South Wales universities: 'Precursors into the Future', Caerdydd.

Research output: Contribution to conference › Paper › peer-review

TY - CONF

T1 - Meaning and Diderot’s Body

T2 - <br/>Double Dialogues Conference, organized by Deakin, Melbourne, Cardiff, Cardiff Metropolitan and South Wales universities: 'Precursors into the Future'

AU - Lewis, Lisa

AU - Dennis, Rea

PY - 2014

Y1 - 2014

N2 - This paper places Diderot's materialist philosophy alongside contemporary thinking from neurobiology to form a lens through which to consider the split between technique and feeling in performer training. The paper considers the way Diderot’s philosophical proposition (re) appears over and again as the premise for conceiving acting as a technique and for determining the utility of same. The discussion maps various examples from the approach developed by Stanislavsky in the early 1900s through to the contemporary more regulated design of Susana Bloch’s Alba Emoting method.

AB - This paper places Diderot's materialist philosophy alongside contemporary thinking from neurobiology to form a lens through which to consider the split between technique and feeling in performer training. The paper considers the way Diderot’s philosophical proposition (re) appears over and again as the premise for conceiving acting as a technique and for determining the utility of same. The discussion maps various examples from the approach developed by Stanislavsky in the early 1900s through to the contemporary more regulated design of Susana Bloch’s Alba Emoting method.

KW - actor training

KW - Diderot

KW - acting theory

KW - Alba Emoting

KW - neurobiology and acting

M3 - Paper

Y2 - 19 September 2014 through 21 September 2014

ER -