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In Performing Emotions, Peta Tait's central argument is that performing emotions in realism is also performing gender identity. This study integrates scholarship on realist drama, theatre and approaches to acting, with interdisciplinary theories of emotion, phenomenology and gender theory. With chapters devoted to masculinity and femininity specifically, as well as to emotions generally, it investigates social beliefs about emotions through Chekhov's four major plays in translation, and English language commentaries on Constantin Stanislavski's direction (of the play's first productions) and his approaches to acting, and Olga Knipper's acting of the central women characters. Tait demonstrates how theatrical emotions are predicated on embodied social performances and create cultural spaces of emotions. Performing Emotions investigates how sexual difference impacts on the representations of emotions. The book develops an accumulative analysis of the meanings of emotions in twentieth century realist drama, theatre and acting.
This volume of essays contributes to our understanding of the ways in which the Jesuits employed emotions to “change hearts”—that is, convert or reform—both in Europe and in the overseas missions. The early modern Society of Jesus excited and channeled emotion through sacred oratory, Latin poetry, plays, operas, art, and architecture; it inflamed young men with holy desire to die for their faith in foreign lands; its missionaries initiated dialogue with and ‘accommodated’ to non-European cultural and emotional regimes. The early modern Jesuits conducted, in all senses of the word, much of the emotional energy of their times. As such, they provide a compelling focus for research into the links between rhetoric and emotion, performance and devotion, from the sixteenth through eighteenth centuries.
How do emotions change over time? When is hate honorable? What happens when "love" is translated into different languages? Such questions are now being addressed by historians who trace how emotions have been expressed and understood in different cultures throughout history. Doing Emotions History explores the history of feelings such as love, joy, grief, nostalgia as well as a wide range of others, bringing together the latest and most innovative scholarship on the history of the emotions. Spanning the globe from Asia and Europe to North America, the book provides a crucial overview of this emerging discipline. An international group of scholars reviews the field's current status and variations, addresses many of its central debates, provides models and methods, and proposes an array of possibilities for future research. Emphasizing the field's intersections with anthropology, psychology, sociology, neuroscience, data-mining, and popular culture, this groundbreaking volume demonstrates the affecting potential of doing emotions history. Contributors are John Corrigan, Pam Epstein, Nicole Eustace, Norman Kutcher, Brent Malin, Susan Matt, Darrin McMahon, Peter N. Stearns, and Mark Steinberg.
Actors and actresses play characters such as the embittered Medea, or the lovelorn Romeo, or the grieving and tearful Hecabe. The theatre audience holds its breath, and then sparks begin to fly. But what about the actor? Has he been affected by the emotions of the character he is playing? What'sgoing on inside his mind? The styling of emotions in the theatre has been the subject of heated debate for centuries. In fact, Diderot in his Paradoxe sur le comedien, insisted that most brilliant actors do not feel anything onstage. This greatly resembles the detached acting style associated with Bertolt Brecht, which, in turn, stands in direct opposition to the notion of the empathy-oriented "emotional reality" of the actor which is most famously associated with the American actingstyle known as method acting. The book's survey of the various dominant acting styles is followed by an analysis of the current state of affairs regarding the psychology of emotions. By uniting the psychology of emotions with contemporary acting theories, the author is able to come to the conclusion that traditional acting theories are no longer valid for today's actor. Acting Emotions throws new light on the age-old issue of double consciousness, the paradox of the actor who must nightly express emotions while creating the illusion of spontaneity. In addition, the book bridges the gap between theory and practice by virtue of the author's large-scale field study of the emotions of professional actors. In Acting Emotions, the responses of Dutch and Flemish actors is further supplemented by the responses of a good number of American actors. The book offers a unique view of how actors act out emotions and how this acting out is intimately linked to the development of contemporary theatre.
Drawing on a range of interdisciplinary approaches and innovative methodologies, this collection contributes ground-breaking new scholarship in the burgeoning field of emotions studies by examining how medieval and early modern Europeans communicated and 'performed' their emotions. Rejecting the notion that emotions are 'essential' or 'natural', this volume seeks to pay particular attention to cultural understandings of emotion by examining how they were expressed and conveyed in a wide range of historical situations. The contributors investigate the performance and reception of pre-modern emotions in a variety of contexts--in literature, art, and music, as well as through various social and religious performances--and in a variety of time periods ranging from the twelfth to the eighteenth centuries. These studies provide both case-studies of particular emotions and emotional negotiations, and examinations of how their categorisation, interpretation, and meaning has changed over time. The contributors provide new insights into the expression and performance of pre-modern emotions from a wide range of disciplinary fields, including historical studies, literature, art history, musicology, gender studies, religious studies, and philosophy. Collectively, they theorise the performativity of medieval and early modern emotions and outline a new approach that takes fuller account of the historical specificity and cultural meanings of emotions at particular points in time. This volume complements the earlier volume Understanding Emotions in Early Europe, edited by Michael Champion and Andrew Lynch (2015).
This book integrates findings from across domains in performance psychology to focus on core research on what influences peak and non-peak performance. The book explores basic and applied research identifying cognition-action interactions, perception-cognition interactions, emotion-cognition interactions, and perception-action interactions. The book explores performance in sports, music, and the arts both for individuals and teams/groups, looking at the influence of cognition, perception, personality, motivation and drive, attention, stress, coaching, and age. This comprehensive work includes contributions from the US, UK, Canada, Germany, and Australia. - Integrates research findings found across domains in performance psychology - Includes research from sports, music, the arts, and other applied settings - Identifies conflicts between cognition, action, perception, and emotion - Explores influences on both individual and group/team performance - Investigates what impacts peak performance and error production
This book brings together leading scholars from around the world to provide their most influential thinking on instructional feedback. The chapters range from academic, in-depth reviews of the research on instructional feedback to a case study on how feedback altered the life-course of one author. Furthermore, it features critical subject areas - including mathematics, science, music, and even animal training - and focuses on working at various developmental levels of learners. The affective, non-cognitive aspects of feedback are also targeted; such as how learners react emotionally to receiving feedback. The exploration of the theoretical underpinnings of how feedback changes the course of instruction leads to practical advice on how to give such feedback effectively in a variety of diverse contexts. Anyone interested in researching instructional feedback, or providing it in their class or course, will discover why, when, and where instructional feedback is effective and how best to provide it.
This book provides first time insight into whether emotions impact performance of an online ability test. This question is gaining in relevance as online assessment is used increasingly in personnel selection and since it has been shown that emotions impact the way humans think. Moreover, the author demonstrates, for the first time, how short film clips can elicit different emotions in an online setting. Furthermore, she gives an overview of the area of online assessment, of models of intelligence and emotion, and of how emotion and cognition interact.
Introduction : Pressure in the therapeutic relationship -- The Science of performance under pressure -- The Science of the therapist under pressure -- From emotion to rupture -- From emotion to repair -- The Way to Therapist Training -- The Way to therapist Self-care -- Conclusion : In the pressure cooker.
Modern breakthroughs in neuroscience and mind-body psychology now offer an alternative approach to the classic systems of acting. So much more is now known about how the brain visualizes, imagines and remembers; neurochemical processes are much faster and more fluid than earlier acting teachers could possibly have realized. Acting with Passion draws heavily on the world of mind-body psychology, primarily the work of Wilhelm Reich and Alexander Lowen. Their theories – that the release of chronic muscular tension can be accompanied by the release of emotions – offer actors the keys to demonstrating emotion on cue. Through a series of physical exercises, actors learn to access feelings through the body rather than the mind. Beginning with the body as 'the instrument', Acting with Passion leads actors through a series of physical exercises combining movement, tactile exploration and vocal release. Once physical blocks are removed, the actor then uses memorized text to place the feelings where they belong. Written with her characteristic verve and accessibility, and using practical exercises to guide the actor through each stage, Acting With Passion is the result of Niki Flaks's popular acting workshops.