By John Matthews
We teach simply because we're human and we turn into human simply because we educate.
This is the impressive and unique end of Anatomy of functionality Training, during which John Matthews exhibits how education is a really human reaction to the issues of getting a physique and residing on the earth.
Using illustrative case-studies perform, each one bankruptcy addresses a particular physique half, providing a self-contained dialogue of its symbolic and sensible value within the inventive, and advertisement, actions of educating. those anatomical case-studies are cross-referenced with different disciplines (such as activity, excessive diving, deep diving and artisan craft) to additional extend our figuring out of functionality. Stand-alone chapters, perfect for reference, construct in the direction of an total end that the uniquely human perform of educating is rising as a brand new and pervasive ideology globally.
Ideal for readers trying to comprehend the connection the physique has with the theatre and coaching, or for academics trying to find a brand new, leading edge method of functionality, Anatomy of functionality Training is an available, unique contribution to the philosophy of educating for performance.
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Additional resources for Anatomy of Performance Training
While the hand is language – is human – there is also a pre-human illiteracy to the hand in practice. 29 Hands grow strong, calloused and rough through labour and those callouses signify proficiency, as any academic who shakes hands with a farmer will know, will feel. 30 In principle, the callus should deaden touch sensation but in practice it appears to do the opposite for those skilled practitioners who use their hands. The callus might make using the hands in a particular way less hesitant and may facilitate a habitual way of using the hands.
Feeling, which has been central to discourse on actor training since ancient times and which found expression as a paradox in the writing of Denis Diderot, is psycholinguistically linked to the hand. The Roman writings of Aulus Gellius provide probably the first recorded example of an actor transposing personally felt emotions to the stage and matrixing his own feeling within the fiction of a play: he tells us that the actor Polus, playing Electra mourning her brother, brought on stage an urn containing the ashes of his own dead son.
71 Thus, the inclusion of the heart should remind that each part overflows into the other and that while they have distinctness they also have coordination and interrelation. Each chapter overlaps with the preceding chapters as I refer back to ideas in previous chapters throughout the book. This overlapping of information is perhaps indicative of how the phenomenon being investigated overflows the analytical schema proposed. The overlapping of ideas within chapters and in relation to different practices and body parts also has a reverberating effect; as ideas accumulate, the image of training as integral to a particular ideology of the contemporary becomes more resonant.