Kinesthetic Spectatorship in the Theatre

THEATRE. Inspired, in part, by Foster's work and the “Watching Dance: Kinesthetic Empathy” project, the last ten years have seen an emergence of kinesthetic research in performance studies, particularly in the United Kingdom.

Author: Stanton B. Garner, Jr.

Publisher: Springer

ISBN: 9783319917948

Category: Performing Arts

Page: 277

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This book is about the centrality of movement, movement perception, and kinesthetic experience to theatrical spectatorship. Drawing upon phenomenological accounts of movement experience and the insights of cognitive science, neuroscience, acting theory, dance theory, philosophy of mind, and linguistics, it considers how we inhabit the movements of others and how these movements inhabit us. Individual chapters explore the dynamics of movement and animation, action and intentionality, kinesthetic resonance (or mirroring), language, speech, and empathy. In one of its most important contributions to the study of theatre, performance, and spectatorship, this book foregrounds otherness, divergence, and disability in its account of movement perception. The discussions of this and other issues are accompanied by detailed analysis of theatre, puppetry, and dance performances.

Theory for Theatre Studies Movement

Movement philosophy Stanton B. Garner, Kinesthetic Spectatorship in the Theatre: Phenomenology, Cognition, Movement (London: Palgrave Macmillan, 2018). Garner's latest book extends the focus on movement perception from classical ...

Author: Rachel Fensham

Publisher: Bloomsbury Publishing

ISBN: 9781350026391

Category: Performing Arts

Page: 144

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How do we define movement in performance? Who or what is being moved and how? And which movements are felt, observed, or studied, in theatre? Part of the Theory for Theatre Studies series which introduces core theoretical concepts that underpin the discipline, Movement provides the first overview of relevant critical theory for students and researchers in theatre and performance studies. Exploring areas such as vitality, plasticity, gesture, effort and rhythm, it opens up the study of theatrical production, live art, and intercultural performance to socio-political conceptions of movement as both practice and concept. It covers movement training systems and considers how they have been utilized in key works of the 20th and 21st centuries. The final section traces the convergence of movement in theatre with other media and digital technologies. A wide range of in-depth case studies helps to equip readers to explore new methodologies and approaches to movement as a performance concept. These include analysis of Satoshi Miyagi's production of Sophocles' Antigone (2017), Thomas Ostermeier's production of Ibsen's Hedda Gabler (2008), the Berliner Ensemble's Mother Courage (1949), The Constant Prince (1965) performed by Ryzsard Cieslak, and the National Theatre's production of War Horse (2007). The final section considers a suite of concepts that shape postdramatic and intermedial theatre from China, Germany-Bangladesh, Australia, the United States, and United Kingdom. The volume is supported by further online resources including video material, questions, and exercises.

Theatre Technicity Shakespeare

Guardian, December 3, 2011, www.theguar dian.com/stage/2011/dec/02/theatre-shakespeare. Accessed September 27, 2019. Garner, Stanton B., Jr. Kinesthetic Spectatorship in the Theatre: Phenomenology, Cognition, Movement.

Author: W. B. Worthen

Publisher: Cambridge University Press

ISBN: 9781108498135

Category: Drama

Page: 269

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Worthen uses contemporary Shakespeare performance to explore the technicity of theatre: its changing work as an intermedial technology.

Aerial Environments on the Early Modern Stage

Stanton B. Garner , Kinesthetic Spectatorship in the Theatre : Phenomenology , Cognition , Movement ( Cham : Palgrave Macmillan , 2018 ) , 118. See also Susan Leigh Foster , ' Movement's Contagion : The Kinesthetic Impact of Performance ...

Author: CHLOE KATHLEEN. PREEDY

Publisher: Oxford University Press

ISBN: 9780192843326

Category:

Page: 353

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During the early days of the professional English theatre, dramatists including Dekker, Greene, Heywood, Jonson, Marlowe, Middleton, and Shakespeare wrote for playhouses that, though enclosed by surrounding walls, remained open to the ambient air and the sky above. The drama written forperformance at these open-air venues drew attention to and reflected on its own relationship to the space of the air. At a time when theories of the imagination emphasized dramatic performance's reliance upon and implication in the air from and through which its staged fictions were presented andreceived, plays written for performance at open-air venues frequently draw attention to the nature and significance of that elemental relationship.Aerial Environments on the Early Modern Stage considers the various ways in which the air is brought into presence within early modern drama, analyzing more than a hundred works that were performed at the London open-air playhouses between 1576 and 1609, with reference to theatrical atmospheres andaerial encounters. It explores how various theatrical effects and staging strategies foregrounded early modern drama's relationship to, and impact on, the actual playhouse air. In considering open-air drama's pervasive and ongoing attention to aerial imagery, actions, and representationalstrategies, the book suggest that playwrights and their companies developed a dramaturgical awareness that extended from the earth to encompass and make explicit the space of air.

Postdramatic Theatre and Form

His book Kinesthetic Spectatorship in the Theater: Phenomenology, Cognition, Movement was recently published by Palgrave Macmillan. Yvonne Hardt is a dancer, choreographer and Professor of Applied Dance Studies and Choreography at the ...

Author: Michael Shane Boyle

Publisher: Bloomsbury Publishing

ISBN: 9781350043183

Category: Performing Arts

Page: 280

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Postdramatic theatre is an essential category of performance that challenges classical elements of drama, including the centrality of plot and character. Tracking key developments in contemporary European and North American performance, this collection redirects ongoing debates about postdramatic theatre, turning attention to the overlooked issue on which they hinge: form. Contributors draw on literary studies, film studies and critical theory to reimagine the formal aspects of theatre, such as space, media and text. The volume expands how scholars think of theatrical form, insisting that formalist analysis can be useful for studying the ways theatre is produced and consumed, and how theatre makers engage with other forms like dance and visual art. Chapters focus on a range of interdisciplinary artists including Tadeusz Kantor, Ann Liv Young and Ryan Trecartin and Lizzie Fitch, as well as theatre's enmeshment within institutional formations like funding agencies, festivals, real estate and healthcare. A timely investigation of the aesthetic structures and material conditions of contemporary performance, this collection refines what we mean, and what we don't, when we speak of postdramatic theatre.

The Routledge Companion to Theatre Performance and Cognitive Science

His book on this subject — Kinesthetic Spectatorship in the Theater: Phenomenology, Cognition, Movement – will be published in 2018 as part of its series Cognitive Approaches to Literature and Performance. Professor Garner's essays and ...

Author: Rick Kemp

Publisher: Routledge

ISBN: 9781351690362

Category: Performing Arts

Page: 364

View: 128

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The Routledge Companion to Theatre, Performance and Cognitive Science integrates key findings from the cognitive sciences (cognitive psychology, neuroscience, evolutionary studies and relevant social sciences) with insights from theatre and performance studies. This rapidly expanding interdisciplinary field dynamically advances critical and theoretical knowledge, as well as driving innovation in practice. The anthology includes 30 specially commissioned chapters, many written by authors who have been at the cutting-edge of research and practice in the field over the last 15 years. These authors offer many empirical answers to four significant questions: How can performances in theatre, dance and other media achieve more emotional and social impact? How can we become more adept teachers and learners of performance both within and outside of classrooms? What can the cognitive sciences reveal about the nature of drama and human nature in general? How can knowledge transfer, from a synthesis of science and performance, assist professionals such as nurses, care-givers, therapists and emergency workers in their jobs? A wide-ranging and authoritative guide, The Routledge Companion to Theatre, Performance and Cognitive Science is an accessible tool for not only students, but practitioners and researchers in the arts and sciences as well.

The Routledge Handbook of Shakespeare and Interface

YouTube, 2016. Available at: https://www.youtube.com/watch?v=xJ5nJnIV8Hk. Garner, Jr., StantonB. Kinesthetic Spectatorship in the Theatre: Phenomenology, Cognition, Movement. Palgrave Macmillan, 2018. Giffin, Stephen N. “Push.

Author: Clifford Werier

Publisher: Taylor & Francis

ISBN: 9781000606379

Category: Literary Criticism

Page: 436

View: 697

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The Routledge Handbook of Shakespeare and Interface provides a ground-breaking investigation into media-specific spaces where Shakespeare is experienced. While such operations may be largely invisible to the average reader or viewer, the interface properties of books, screens, and stages profoundly mediate our cognitive engagement with Shakespeare. This volume considers contemporary debates and questions including how mobile devices mediate the experience of Shakespeare; the impact of rapidly evolving virtual reality technologies and the interface architectures which condition Shakespearean plays; and how design elements of hypertext, menus, and screen navigation operate within internet Shakespeare spaces. Charting new frontiers, this diverse collection delivers fresh insight into human–computer interaction and user-experience theory, cognitive ecology, and critical approaches such as historical phenomenology. This volume also highlights the application of media and interface design theory to questions related to the medium of the play and its crucial interface with the body and mind.

Tandem Dances

Kinesthetic Spectatorship in the Theatre: Phenomenology, Cognition, Movement. Cognitive Studies in Literature and Performance. Cham, Switzerland: Palgrave Macmillan. Gee, James Paul. 2008. “Video Games and Embodiment.

Author: Julia M. Ritter

Publisher: Oxford University Press, USA

ISBN: 9780190051303

Category: Art

Page: 288

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"In October 2017, four internationally influential practitioners of immersive experiences gathered at the Snug Harbor Cultural Center on Staten Island in New York for a panel discussion on the creation of immersive productions. The panel, entitled "All the World is a Stage," was part of the Future of Storytelling Festival 2017 (FoST FEST), advertised as "the world's leading immersive storytelling event." During this discussion, each of the four panelists described examples of their work. Hector Harkness, Associate Director of Punchdrunk International, explained how the company created productions that "rip up the rules for the audience" so they can "go beyond the boundaries of closed environments." Food technologist, experience designer, and multimedia artist Emilie Baltz described inviting audiences to step up to a microphone and use their tongues, teeth, and lips to play musical popsicles in an installation called PopStars. Jon Sands, founder of Poets in Unexpected Places, revealed how his strategic placement of poets on subway cars across New York City turned commutes into impromptu poetry slams for unsuspecting riders, some of whom joined in by improvising their own poetic works. Justin "JB" Bolognino, CEO (Chief Experience Officer) of META, an experience production company, described his commissioning of Jon Morris, artistic director of the Brooklyn-based Windmill Factory, to design a music-festival queue into an experiential artwork. Entitled Right Passage, the work was a "room-scale sound and light performance installation" involving moving walls that guided festival participants efficiently into the concert venue (Windmill Factory 2017). Through their detailed descriptions of how their productions organized the bodies of performers and spectators in space and time, the panelists hinted at the presence of choreography in their productions"--

Phenomenology for Actors

Counsell, Colin (1996), Signs of Performance: An Introduction to Twentieth Century Theatre, London: Routledge. ... Contemporary Drama, Ithaca, NY: Cornell University Press. Garner, Stanton (2018), Kinesthetic Spectatorship in the Theatre:

Author: Daniel Johnston

Publisher: Intellect Books

ISBN: 9781789384116

Category: Performing Arts

Page:

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This book gives new insight into acting and theatre-making through phenomenology (the study of how the world shows itself to conscious experience). It examines Being-in-the-world in everyday life with exercises for workshops and rehearsal. Each chapter explores themes to guide the creative process through objects, bodies, spaces, being with others, time, history, freedom and authenticity. Key examples in the work are drawn from Chekhov’s The Cherry Orchard, Sophocles’ Antigone and Shakespeare’s Hamlet. Practical tasks in each section explore how the theatrical event can offer unique insight into Being and existence. In this way, the book makes a bold leap to understand acting as an embodied form of philosophy and to explain how phenomenology can be a rich source of inspiration for actors, directors, designers and the creative process of theatre-making. This original new book will provide new insight into the practice and theory of acting, stimulate new approaches to rehearsal and advance the notion of theatre making a genuine contribution to philosophical discourse. The fundamental task of the actor is to be on stage with purposeful action in the given circumstances. But this simple act of ‘Being’ is not easy. Phenomenology can provide valuable insight into the challenge. For some time, scholars have looked to phenomenology to describe and analyse the theatrical event. But more than simply drawing attention to embodiment and the subjective experience of the world, a philosophical perspective can also shed light on broader existential issues of being. No specialist knowledge of philosophy is required for the reader to find this text engaging and it will be relevant for second-year students and above at tertiary level. For postgraduates and researchers, the book will provide a valuable touchstone for phenomenology and performance as research. The book will appeal to theatre and performance studies, and some applied philosophy courses. The material is also relevant to studies in literary and critical theory, cultural studies and comparative literature. The work is relevant to The International Federation of Theatre Research (IFTR/FIRT) (Performance and Consciousness), Performance Studies International (psi) and the Performance Philosophy Research Network — an influential and growing research field. Primary markets for this book will be students (both at university and conservatoires) and academics in theatre studies, as well as practitioners and actors in training. The text will be useful to students in units or modules relating to acting theory and theatre-making processes, and which combine critical theory with practical performance. It will also be useful for practitioners of theatre looking to expand or inflect their own methods of approaching performance.

Kinesthetic Empathy in Creative and Cultural Practices

Echoing my own reflections on 'Pleat', of 'Another Bloody Mary' (2000) Heathfield comments; For here, the round of gallery spectatorship replaces the theatrical frame; the frontal cedes to panoramic exposure; and the binary division of ...

Author: Dee Reynolds

Publisher: Intellect Books

ISBN: 9781841504919

Category: Art

Page: 334

View: 370

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Encouraging readers to sidestep the methodological and disciplinary boundaries associated with the arts and sciences, this title offers innovative and critical perspectives on topics ranging from art to sport, film to physical therapy.