作者: 小畫像 時(shí)間: 2025-3-21 23:37
Consciousness and the Brain: A Window to the Mind In the ‘temporary assuming of another’, both actor and audience engage in symbolic interaction. This extraordinary ability displayed onstage is appreciated as artistic talent and skill. While those biological organisms that are capable of one type of deception or another do so in order to survive p作者: 新星 時(shí)間: 2025-3-22 01:01 作者: DEAF 時(shí)間: 2025-3-22 06:13
Embodying Deep Practice: A Pedagogical Approach to Actor Training2). Deep practice involves a specific process of working that can be applied to any discipline. Abilities in athletics, music and dance, for example, are nurtured and developed through concentrated repetition of specific exercises. This repetition is typically physical, and the power of the body’s i作者: extrovert 時(shí)間: 2025-3-22 12:46 作者: encyclopedia 時(shí)間: 2025-3-22 16:12 作者: encyclopedia 時(shí)間: 2025-3-22 19:59 作者: negligence 時(shí)間: 2025-3-22 21:57 作者: 仇恨 時(shí)間: 2025-3-23 03:14 作者: 無(wú)可非議 時(shí)間: 2025-3-23 06:21 作者: 食料 時(shí)間: 2025-3-23 09:42
The Performance Mirror: Self, Consciousness and Verbatim Theatress include discussions of what constitutes the self and identity in relation to an other which could be a mirror, a person, a set of ideas, a culture or a story. When we remember how we listened to a fairy tale or story when young, we might remember identifying with the protagonist in a way that all作者: Nonthreatening 時(shí)間: 2025-3-23 17:25
: Technologies of Reception in the Commercial Flash Moblash mobilizations’, are examples of ‘rapid and exponential behavioral transmission’ in which text messages sent on mobile phones and other devices ‘can lead to thousands of people meeting on a square, within hours of the first message being sent’ (Riboli-Sasco ., 2008, p. 267). While the earliest f作者: TEN 時(shí)間: 2025-3-23 21:04 作者: 貧困 時(shí)間: 2025-3-23 23:27
Aesthetic Encounters of a Collective Consciousnesstion of postmodernist theatre and culture. My objective, however, is not to enter the extensive terrain of the debate in performance studies regarding the analysis of particular readings of aesthetics as features of historical period, genre or semiotic effect. Rather — insofar as the task here is th作者: Myelin 時(shí)間: 2025-3-24 03:44 作者: 詞匯記憶方法 時(shí)間: 2025-3-24 07:09
Satyarth Pandey,Gaurav Joshi,Roshan Kumaricular configuration of the following elements: the historical social context of the field, the theory relevant to the field, the application of theory to practical skills, and the relationship of the student as individual to the subject.作者: Agnosia 時(shí)間: 2025-3-24 14:27
https://doi.org/10.1007/978-1-349-05392-6 reason and imagination are grounded in our bodily experience (Johnson, 2008, p. 12). Understanding the body’s centrality to training can provide insights into methods of pedagogy for training the actor. Further, it can be used as research to support the theory that embodiment enhances consciousness.作者: opportune 時(shí)間: 2025-3-24 17:21
The Neuroscience of Performance Pedagogyicular configuration of the following elements: the historical social context of the field, the theory relevant to the field, the application of theory to practical skills, and the relationship of the student as individual to the subject.作者: Allure 時(shí)間: 2025-3-24 22:37 作者: 拍翅 時(shí)間: 2025-3-25 00:22
https://doi.org/10.1007/978-3-031-10729-0uman cognition, and symbolic reference is what allows us to communicate through language and art. To obtain insight into embodied consciousness and put it in its proper perspective it is useful to explore the approaches scientists adopt when they investigate the nature of consciousness itself.作者: 行乞 時(shí)間: 2025-3-25 05:04 作者: JUST 時(shí)間: 2025-3-25 08:34
https://doi.org/10.1007/978-94-017-6782-8e, will be related to the tasting of ., the primary aesthetic tradition in Indian art forms. As yet, there have been no solid, scientific studies conducted on traditional performers and their state of consciousness.作者: chemical-peel 時(shí)間: 2025-3-25 12:25 作者: infelicitous 時(shí)間: 2025-3-25 17:55 作者: RAG 時(shí)間: 2025-3-25 22:08 作者: JIBE 時(shí)間: 2025-3-26 03:36 作者: Infant 時(shí)間: 2025-3-26 05:36
The Performance Mirror: Self, Consciousness and Verbatim Theatreowed us to live the adventure vicariously. It is in our nature to identify with others, to project and transfer aspects of our ‘self’ onto others. In order to understand the nature of our ‘self’ it helps to understand the role of . in the establishment of self.作者: 小木槌 時(shí)間: 2025-3-26 11:25
Metatheatre and Consciousnessy as anything but a play, the actors as anything but actors, nor the stage’s methodologies and ideologies as anything but devices. We now are always in disbelief, stuck in a cage of awareness that prevents us from playing.作者: SPALL 時(shí)間: 2025-3-26 16:26
Motion in Stillness — Stillness in Motion: Contemplative Practice in the Performing Arts to uncover inner qualities — serenity, rigour — that do not change even as their physical outlines are transformed again and again.. These investigations of stillness in motion are not surprising given Cunningham’s long-term integration of Zen philosophy into his life that included daily meditations.作者: 平 時(shí)間: 2025-3-26 17:25
https://doi.org/10.1007/978-3-642-59738-1owed us to live the adventure vicariously. It is in our nature to identify with others, to project and transfer aspects of our ‘self’ onto others. In order to understand the nature of our ‘self’ it helps to understand the role of . in the establishment of self.作者: nitroglycerin 時(shí)間: 2025-3-26 23:43
Microscopic Techniques for the Non-Experty as anything but a play, the actors as anything but actors, nor the stage’s methodologies and ideologies as anything but devices. We now are always in disbelief, stuck in a cage of awareness that prevents us from playing.作者: abstemious 時(shí)間: 2025-3-27 04:57 作者: CLAIM 時(shí)間: 2025-3-27 08:07 作者: 畢業(yè)典禮 時(shí)間: 2025-3-27 11:02 作者: BUMP 時(shí)間: 2025-3-27 14:41 作者: Shuttle 時(shí)間: 2025-3-27 18:56
Aesthetic Encounters of a Collective Consciousnessate, even though in a rough and limited manner, the source of resentment that endows the aesthetic from its postmodernist critique — what has claimed for itself the space of the anti-aesthetic. Then, I will examine the implications of simulation in postmodernist culture, and, particularly, in perfor作者: 多嘴多舌 時(shí)間: 2025-3-28 01:44 作者: machination 時(shí)間: 2025-3-28 03:07
Identification of the Donor in GRS 1915+105r Chekhov, that reciprocal process enables actors to embody fully their characters, in part, through cultivating states of ‘higher consciousness’ and ‘shared consciousness’ with their onstage partners and with the audience.作者: Cytokines 時(shí)間: 2025-3-28 07:57 作者: 善于 時(shí)間: 2025-3-28 10:54
Ankur Singh,Akhilesh K. Gaharwar my switch. When Schechner defined performance as any ‘twice behaved behavior’ (1985, p. 36) and Judith Butler called our postmodern constructed state ‘performative’, that is, ‘[our actions] are . in the sense that the essence or the identity that they otherwise purport to express are . manufactured作者: enumaerate 時(shí)間: 2025-3-28 18:05 作者: 減震 時(shí)間: 2025-3-28 20:30 作者: Autobiography 時(shí)間: 2025-3-29 02:29
https://doi.org/10.1007/978-3-031-10729-0 In the ‘temporary assuming of another’, both actor and audience engage in symbolic interaction. This extraordinary ability displayed onstage is appreciated as artistic talent and skill. While those biological organisms that are capable of one type of deception or another do so in order to survive p作者: GUMP 時(shí)間: 2025-3-29 06:09 作者: 冒失 時(shí)間: 2025-3-29 10:42 作者: 免除責(zé)任 時(shí)間: 2025-3-29 14:01
https://doi.org/10.1007/978-1-349-13812-8 England’s West Yorkshire Playhouse, warming up with the other actors before the evening show. We’ve just played for several months at London’s National Theatre and our contract is con- eluding with three weeks of touring the provinces. Due to the politically provocative nature of the material (whic作者: 俗艷 時(shí)間: 2025-3-29 18:39
https://doi.org/10.1007/978-1-349-16105-8ayal of the Cunningham Company, he suggests that Cunningham in his 66 years was consistently investigating motion in stillness and stillness in motion to uncover inner qualities — serenity, rigour — that do not change even as their physical outlines are transformed again and again.. These investigat作者: Commonwealth 時(shí)間: 2025-3-29 23:37
https://doi.org/10.1007/978-94-017-6782-8s. This chapter investigates current research on embodied consciousness in traditional Indian performance, using examples from Kerala’s classical kutiyattam dance-drama. The concept of consciousness and what constitutes an altered state will be examined, followed by a focus on various scholarly disc作者: BOLUS 時(shí)間: 2025-3-30 01:28 作者: 老巫婆 時(shí)間: 2025-3-30 07:38
Identification of the Donor in GRS 1915+105non-verbal, spiritual communication. One skill to which he affords considerable attention is ‘radiating’ — the ability, in the words of Chekhov’s pupil, Mala Powers, ‘to send out the invisible essence of whatever quality, emotion or thought you wish — You may even consciously “radiate” your characte作者: 哎呦 時(shí)間: 2025-3-30 11:21
Heating Concepts for Ceramic Microreactorsmatrix of biopolitical ideology, making that which is absent, present, and that which is unconscious, conscious. However, before venturing further into the articulation of this issue, I will briefly outline the fundamental theoretical framework that underpins my argument.作者: 精確 時(shí)間: 2025-3-30 13:29 作者: Amylase 時(shí)間: 2025-3-30 16:59 作者: ferment 時(shí)間: 2025-3-30 21:54 作者: Calculus 時(shí)間: 2025-3-31 03:48
