Titlebook: Embodied Consciousness; Performance Technolo Jade Rosina McCutcheon,Barbara Sellers-Young Book 2013 Palgrave Macmillan, a division of Macmi

enumaerate

減震

Autobiography

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

GUMP

冒失

免除責任

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

俗艷

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

Commonwealth

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

BOLUS

老巫婆

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