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How does an actor embody a character? How do they use their body as an instrument of expression? Rethinking the Actor's Body offers an accessible introduction to the fields of neurophysiology and embodied knowledge through a detailed examination of what an actor does with their body. Built on almost a decade of conversations and public seminars by the author Dick McCaw in partnership with John Rothwell (Professor of Neurophysiology at University College London, UK), Rethinking the Actor's Body explores a set of questions and preoccupations concerning the actor's body and examines overlaps in research and practice in the fields of actor training, embodied knowledge and neurophysiology.
This book rethinks the body in global politics and the particular roles bodies play in our international system, foregrounding processes and practices involved in the continually contested (re/dis)embodiment of both human bodies and collective bodies politic. Purnell provides a new, innovative, and detailed theory of bodily (re)making and un-making that shows how bodies are simultaneously (re)made and moved and (re)make and move other bodies and things. Presented in the form of reflective/reflexive and theoretically innovative essays, the book explores: bodies in general and their precarious, excessive, ontologically insecure, and emotional facets; the fleshing out of contemporary necro(body)politics; and the visual-emotional politics embodied through the COVID-19 pandemic. The empirical analyses feed into contemporary IR debates on British and American politics and international relations and the Global War on Terror, while also speaking to broader and interdisciplinary, theoretical literature on bodies/embodiment, visual politics, biopolitics, necropolitics, and affect/emotion, and feelings.
This book addresses the debate usually tagged as being about ’markets in human body parts’ which is antagonistically divided into pro-market and anti-market positions. The author provides a set of propositions about how to approach this and shows a way out of the concrete impasse of it. Assumptions about markets and bodies that characterize this debate are analyzed and described while the author argues that these assumptions are in fact constitutive for exchanges of human bodily material – but in unacknowledged ways. It is concluded that what we need is a different analytical approach to better understand the mechanisms at play when organizations exchange organs, tissues and cells for use in transplantation and fertility medicine. ​
For the past half century, intellectuals and other critics have lamented America s descent into a therapeutic cultureor in Christopher Lasch s lasting phrase, a culture of narcissism. But is that the case? The essays in this collection take a fresh look at therapeutic culture and its critiques. Rather than a cesspool of self-involvement, therapeutic culture may instead be a productive and meaningful way that people negotiate with issues of culture, society, race, gender, and identity. Most important, the editors and contributors grapple with the historically and socially constructed nature of therapeutic culture and its influence. With its dazzling array of contributors and perspectives, this is a book worth getting off the couch for."
Bringing together scholars and researchers in one volume, this study investigates how the thinking of the Ukrainian-Israeli somatic educationalist Moshe Feldenkrais (1904-84) can benefit and reflect upon the creative practices of dance, music and theatre. Since its inception, the Feldenkrais Method has been associated with artistic practice, growing contiguously with performance, cognitive and embodied practices in dance, music, and theatre studies. It promotes awareness of fine motor action for improved levels of action and skill, as well as healing for those who are injured. For creative artists, the Feldenkrais Method enables them to refine and improve their work. This book offers historical, scientific and practical perspectives that develop thinking at the heart of the Method and is divided into three sections: Historical Perspectives on Creative Practice, From Science into Creative Practice and Studies in Creative Practice. All the essays provide insights into self-improvement, training, avoiding injury, history and philosophy of artistic practice, links between scientific and artistic thinking and practical thinking, as well as offering some exercises for students and artistic practitioners looking to improve their understanding of their practice. Ultimately, this book offers a rich development of the legacy and the ongoing relevance of the Feldenkrais Method. We are shown how it is not just a way of thinking about somatic health, embodiment and awareness, but a vital enactivist epistemology for contemporary artistic thought and practice.
Shortlisted for the STR Theatre Book Prize 2023 With an exclusive focus on text-based theatre-making, Inside the Rehearsal Room is both an instructional and conceptual examination of the rehearsal process. Drawing on professional practice and underpinned by theory, this book moves through each stage of rehearsals, considering the inter-connectivity between the actor, director, designers and the backstage team, and how the cumulative effect of the weeks in rehearsal influences the final production. The text also includes: - Auto-ethnographic and fully ethno-graphic case study approaches to different rehearsal rooms - Interviews with directors, actors, designers and actor trainers - A consideration of the ethics of the rehearsal room and material selected for production - Practical exercises on how to creatively read a text from an acting and directing perspective Informed by over 20 years of directing experience in the UK and Europe, Robert Marsden's book offers a practical guide that ultimately demystifies the rehearsal process and challenges how the rehearsal room should be run in the twenty-first century.
An edited collection of essays exploring the work and legacy of the academic and theatre-maker Clive Barker. Together, the essays trace the development of his work from his early years as an actor with Joan Littlewood's company, Theatre Workshop, via his career as an academic and teacher, through the publication of his seminal book, Theatre Games (Methuen Drama). The book looks beyond Barker's death in 2005 at the enduring influence of his work upon contemporary theatre training and theatre-making. Each writer featured in the collection responds to a specific aspect of Barker's work, focusing primarily on his early and formative career experiences with Theatre Workshop and his hugely influential development of Theatre Games. The collection as a whole thereby seeks to situate Clive Barker's work and influence in an international and multi-disciplinary context, by examining not only his origins as an actor, director, teacher and academic, but also the broad influence he has had on generations of theatre-makers.
Knowing your users stimulates your imagination and helps you create more exciting and effective design solutions. But there is a problem: the normal conception of "the user" is incomplete and based on outdated notions. These notions of simple, direct relationships between people and products are no longer valid in today's complex, technologically interconnected world. This fun and practical book with a set of cards will change the way readers think about users. Rethinking Users introduces a radical new approach that questions some of our most fundamental ideas about the nature of user experience. It points to new opportunities to create products and services that help users in new ways. The book includes a deck of user archetype cards and step-by-step team activities for unlocking new user-centered thinking and design inspiration. For designers, design researchers, strategists, innovators, product managers, and entrepreneurs in almost any field.
A revolutionary book about stage movement from a well-known artist of the international theater community.
This book deals with one of the most important sources of the Stanislavsky System - Yoga, its practice and philosophy. Sergei Tcherkasski carefully collects records on Yoga in Stanislavsky's writings from different periods and discusses hidden references which are not explained by Stanislavsky himself due to the censorship in his day. Vivid examples of Yoga based training from the rehearsal practice of the Moscow Art Theatre and many of Stanislavsky's studios (the First Studio in 1910s, the Second Studio and Opera Studio of the Bolshoi Theatre in 1920s, Opera-Dramatic Studio in 1930s) are provided. The focus of Tcherkasski's research consists of a comparative reading of the Stanislavsky System and Yogi Ramacharaka's books, which were a main source for Stanislavsky. Accordingly, Tcherkasski analyzes elements of the System based on Yoga principles. Among them are: relaxation of muscles (muscular release), communication and prana, emission of rays and reception of rays, beaming of aura, sending of prana, attention, visualizations (mental images). Special attention is paid to the idea of the superconscious in Yoga, and in Ramacharaka's and Stanislavsky's theories. Tcherkasski's wide-ranging analysis has resulted in new and intriguing discoveries about the Russian master. Furthermore, he reveals the extent to which Stanislavsky anticipated modern discoveries in neurobiology and cognitive science. In this book Tcherkasski acts as a researcher, historian, theatre director, and experienced acting teacher. He argues that some forty per cent of basic exercises in any Stanislavsky based actor training program of today are rooted in Yoga. Actors, teachers, and students will find it interesting to discover that they are following in the footsteps of Yoga in their everyday Stanislavsky based training and rehearsals.