The Actor, Image, and Action: Acting and Cognitive by Rhonda Blair

By Rhonda Blair

The Actor, picture and motion is a 'new iteration' method of the craft of performing; the 1st full-length research of actor education utilizing the insights of cognitive neuroscience. In an excellent reassessment of either the perform and thought of appearing, Rhonda Blair examines the physiological dating among physically motion and emotional event. In doing so she presents the newest step in Stanislavsky's makes an attempt to aid the actor 'reach the subconscious by way of wakeful means'.

Recent advancements in clinical puzzling over the connections among biology and cognition require new methods of knowing many components of human job, including:

  • imagination
  • emotion
  • memory
  • physicality
  • reason.

The Actor, picture and motion looks at how those are in reality inseparable within the brain's constitution and serve as, and their the most important value to an actor’s engagement with a job. The publication drastically improves our knowing of the actor's approach and is a needs to for any actor or pupil of acting.

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Additional info for The Actor, Image, and Action: Acting and Cognitive Neuroscience

Example text

A crucial implication of this is that the metaphors we live by (to use the title of one of their books) are not just abstract or poetic, but are of our bodies in the most immediate way. Based on what we are learning about cognition and language, their argument provides a holistic way of understanding ourselves and the way language arises directly out of our physical beings: consciousness, reason, and language are a direct manifestation of our bodies and the sense we have of ourselves as bodies.

Stanislavsky was fascinated by the great actors of his time, such as Duse and Chaliapin, whose “bodies were at the call and beck of the inner demands of their wills” (Stanislavsky 1948: 463). His career was driven by his desire to develop and strengthen this capacity in himself and in his actors, and early on he began to seek an approach to acting that would engage the actor consistently and vitally with the role. While his language in translation is problematic (Carnicke has an entire chapter in Stanislavsky in Focus on one word alone, perezhivanie, Stanislavsky’s term typically translated as “living” or “experiencing” the part, but which is more accurately translated as “living through” or “experiencing through” the part), it is clear that Stanislavsky’s aim was to develop a method that would help the actor achieve a level of consistency and excellence in performing text-based roles.

Damasio uses the term “somatic marker” to describe how body-states become linked with our conscious responses to or interpretations of them. , seeing a tiger may cause a rush of adrenalin and a whole array of other neurochemical responses, which then become linked to conscious thoughts of fear or excitement or wonder; or thinking about a loved one may cause both a rush of endorphins and a shift in our respiration). , body-state, responses in guiding our choice of reactions to new situations. This was initially a mechanism for maximizing survival, for it reduces the range of possible choices through which we have to sort, allowing us to respond with varying degrees of habit or spontaneity, in order to be better able to save ourselves without having to think a lot about it; as with all of the workings of the brain, much of this occurs pre- or unconsciously.

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