Rethinking the actor's body : dialogues with neuroscience

Rethinking the actor's body : dialogues with neuroscience /

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Bibliographic Details
Main Author: McCaw, Dick (Author)
Corporate Author: ProQuest (Firm)
Format: Electronic eBook
Language:English
Published: London ; New York : Methuen Drama, 2020.
Subjects:
Movement (Acting) > Psychological aspects.
Acting > Psychological aspects.
Actors > Psychology.
Cognitive neuroscience.
Neurophysiology.
Neurosciences and the arts.
Online Access:Connect to this title online (unlimited simultaneous users allowed; 325 uses per year)

MARC

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100 1 |a McCaw, Dick,  |e author. 
245 1 0 |a Rethinking the actor's body :  |b dialogues with neuroscience /  |c Dick McCaw. 
264 1 |a London ;  |a New York :  |b Methuen Drama,  |c 2020. 
264 4 |c ©2020 
300 |a 1 online resource (xviii, 274 pages:) :  |b illustrations. 
336 |a text  |b txt  |2 rdacontent 
337 |a computer  |b c  |2 rdamedia 
338 |a online resource  |b cr  |2 rdacarrier 
504 |a Includes bibliographical references and index. 
505 0 0 |a Machine generated contents note:   |g pt. ONE   |t Introduction --   |t Two Images of the Human Body --   |t Different Actors, Different Bodies --   |t Study of the Actor's Body Opens on to Other Understandings of the Body --   |t Rethinking the Actor's Body: A Book in Two Parts and Nine Chapters --   |g ch. 1   |t Different Ways of Understanding a Body (Methodology) --   |g ch. 2   |t Training: From the Everyday Body to the Actor's Body --   |g ch. 3   |t Front Brain/Back Brain --   |g ch. 4   |t `Body/Think': Being, Sensing, Knowing --   |g ch. 5   |t Present Body --   |g ch. 6   |t Figuring the Body --   |g ch. 7   |t Imaging the Body --   |g ch. 8   |t Emotional Body --   |g ch. 9   |t Bringing It All Back Home --   |g 1.  |t Different Ways of Understanding a Body (Methodology) --   |g I.  |t To Be a Body --   |t Introduction --   |t Consciousness: Mind and Body --   |t Knowledges of the Body --   |g II.  |t Theatre Studies Drawing on Neuroscience --   |t Proceeding with Caution --   |t Language, Objectivity and Embodied Meaning --   |t Friendly Critique --   |g III.  |t Neurophysiology and Other Scientific Approaches --   |t Approach Where `Interdisciplinary' Means `Wide' --   |t Systems Theory and Dynamic Patterns --   |t Loops and Re-Entry --   |t Extended Brain --   |t How the Body Becomes Absent --   |t Intelligence of Physical Skill and Action --   |t Summary of Main Points --   |g 2.  |t Training: From the Everyday Body to the Actor's Body --   |t Introduction --   |g I.  |t Why Do We Have a Brain? --   |t Action Takes Place within the Given Circumstances of an Environment --   |t From Sensing to Learning --   |g II.  |t Subjects and Objects in Space --   |t Introduction --   |t Objects, Action and Affordance in the World --   |t Body's Orientation in the Environment --   |t Mastering Objects in the World --   |g III.  |t What Does an Actor Need to Know about Human Physiology? --   |t Introduction --   |t Feet --   |t Muscles --   |t Skin --   |t Summary --   |g 3.  |t Front Brain/Back Brain: The Embodied Brain in Theatre and Neuroscience --   |t Introduction --   |g I.  |t Front Brain and Back Brain --   |t Theories of Mind: From Phrenology to Dynamic Systems --   |t Clive Barker on the Front and the Back Brain --   |t `Being in the Head' and `Being in the Body' --   |t Attentional State of Soft Focus: Neurological Accounts --   |t Front Brain/Back Brain: Neurological Accounts --   |t There Is No Little Person in Your Head --   |t Humans Have Pattern-Forming Brains --   |g II.  |t Conscious or Unconscious? --   |t Freud and Stanislavsky: Unconscious and Subconscious --   |t Not Knowing How We Do What We Do --   |t Summary --   |t Front and Back Brain - Against a Modular Brain - An Orchestral Conception of Body and Brain --   |t Notions of Time - The Now of Presence - Flow --   |t States of Attention - Receptive Passivity - The Undermind - Embodied Meaning --   |t Complexity - Even the Simplest of Tasks Is Bewilderingly Complex --   |g 4.  |t `Body/Think': Being, Sensing, Knowing --   |t Introduction --   |g I.  |t Being in Your Body --   |t Becoming `Quite Simply More Sensitive' --   |t Kinaesthetic Sense and Body/Think --   |t Nontheatrical Accounts of Sensing --   |t Nontheatrical Accounts of the Kinaesthetic Sense and Proprioception --   |g II.  |t What Is It That the Body Knows? (What Is Embodied Knowledge?) --   |t Embodied Knowledge --   |t Language: Knowing, Thinking and Learning --   |g III.  |t How Does the Body Learn, Know and Remember? --   |t Development of Skilled Movement Is Guided by the Senses: Dewey and Bernstein --   |t What It Is That We Remember? --   |t Learning and the Disappearing Body --   |t Paradoxes of Knowing and Telling --   |t Summary --   |t Inside/Outside - Egocentric/Allocentric Perspectives --   |t Paradoxes of Learning --   |t Being in Your Body: Are There Degrees of Being in Your Body? --   |t How Do We Know Our Own Bodies? --   |t How Do We Know through Our Bodies? --   |t PART TWO --   |g 5.  |t Present Body --   |t Introduction: The Connection between Presence and Energy --   |t Energy Pro and Contra: Feldenkrais and the Martial Arts --   |t Being There Just by Standing Still --   |t Pneumatic and the Hydraulic Body --   |t Stanislavsky, Yoga and Prana --   |t Stanislavsky and Psychophysical Acting --   |t Psychophysical Acting after Stanislavsky: Grotowski, Barba and Zarrilli --   |t Forms of Vitality --   |t Conclusion: Material Bodies and Metaphor --   |g 6.  |t Figuring the Body --   |t Introduction --   |t Topology and Topography --   |g I.  |t Defining the Terms `Centre' and `Centring' --   |t Dictionary Definitions --   |t Theatre Definitions --   |t Definitions from Four Theatre Practitioners --   |g II.  |t Physiological Centres --   |t Solar Plexus - Between Physiology and Metaphor --   |t Spine - the Central Axis --   |t Spine and Balance --   |t Pelvis and the Centre of Gravity --   |t Spine as Our `Orientational Centre' --   |g III.  |t Centre and Periphery: Outside-In or Inside-Out? --   |t Argument in Theatre Training --   |g IV.  |t Verticality: Up and Down from the Centre --   |t Some Provisional Conclusions --   |g 7.  |t Imaging the Body --   |t Introduction --   |g I.  |t Seeing and Knowing the Self --   |t Seeing and Knowing in the Widest Sense --   |t Body as a `Fine Nerve Meter' --   |t Body Image/Body Schema --   |t Self-image (Feldenkrais) --   |t Simulation and Prediction (Frith and Berthoz) --   |t Image and Imagination in Theatre --   |g II.  |t Seeing and Knowing Others --   |t Mirror Neurons: Seeing Others as Selves Like Us --   |t Movement Attunement between Mother and Infant (Stern) --   |t Mirroring: Not Between but Within (Gallagher) --   |t Simulating Movement: Actors and Audiences (Stanislavsky and McConachie) --   |t Summary --   |g 8.  |t Emotional Body --   |t Introduction --   |g I.  |t Debates about Emotion in Theatre --   |t Actor and a Character --   |t Rethinking the Body: Behaviourism and Biomechanics --   |t Critique of the Biomechanical Conception of the Human Body and Brain --   |t Postmodern Physical Theatre --   |t Coda: Emotion and the Actor's Body --   |g II.  |t Neuroscientific Accounts of Emotion --   |t Where Emotions Come From: Feelings and Emotions, Somatic Markers, beyond Feelings --   |t Where Emotions Come From: The Emotional Brain and Fearful Situations --   |t Actor's Conscious Art of Emotional Recall: Damasio and Ekman on Emotional Recall --   |g III.  |t Stage Fright --   |t Stanislavsky on Stage Fright --   |t Sympathetic and Parasympathetic Branches of the Autonomic Nervous System --   |t Tales from the Racing Track --   |t Summary --   |g 9.  |t Bringing It All Back Home --   |t Introduction --   |t Questions and Problems of Theatre That Have a Connection with Neuroscience --   |g 1.  |t Learning --   |g 2.  |t Sensitivity and Intelligence --   |g 3.  |t Action --   |g 4.  |t Readiness/Soft Focus --   |g 5.  |t Emotion --   |g 6.  |t Imagination --   |g 7.  |t Stage Fright --   |t Rethinking the Actor's Body --   |t Mappings and Metaphors of the Body --   |t Front and Back Brain: Mappings of the Brain --   |t There Is No Emotional Brain --   |t Brain as a Simulator and Mirror Neurons --   |t Methodology --   |t Action on Stage and in the World --   |t Dialogues with Neuroscience --   |t Holism and Wholeness --   |t Complexity --   |t Consciousness and Complexity --   |t Hypotheses and Conclusions about the Brain and Complexity --   |t Learning How to Learn --   |t Habits and Awareness (Feldenkrais, Claxton, Bernstein and Barker) --   |t Attention --   |t Alertness and Arousal --   |t Anxiety: A State of Not-Learning --   |t Soft Focus - An Optimal Attentional State --   |t Attentional State of the Interpretative and Creative Artist --   |t Conclusions about Learning, Training and Performance --   |t Bringing It All Back Home --   |t Methodology --   |t Philosophy --   |t Play and Learning. 
533 |a Electronic reproduction.  |b Ann Arbor, MI  |n Available via World Wide Web. 
588 |a Description based on print version record. 
650 0 |a Movement (Acting)  |x Psychological aspects. 
650 0 |a Acting  |x Psychological aspects. 
650 0 |a Actors  |x Psychology. 
650 0 |a Cognitive neuroscience. 
650 0 |a Neurophysiology. 
650 0 |a Neurosciences and the arts. 
710 2 |a ProQuest (Firm) 
776 0 8 |c Original  |z 9781350046467  |z 1350046469  |z 9781350046474  |z 1350046477  |w (DLC) 2019043889 
856 4 0 |u https://ebookcentral.proquest.com/lib/santaclara/detail.action?docID=6120967  |z Connect to this title online (unlimited simultaneous users allowed; 325 uses per year)  |t 0 
907 |a .b36092630  |b 240625  |c 200504 
998 |a uww  |b    |c m  |d z   |e l  |f eng  |g enk  |h 0 
917 |a YBP DDA 
919 |a .ulebk  |b 2017-02-14 
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