Lessacs kinesensics: An embodied acting practice via Merleau-Pontys phenomenal body. Melissa Anne Hurt

ISBN: 9781109631029

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NOOKstudy eTextbook

166 pages


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Lessacs kinesensics: An embodied acting practice via Merleau-Pontys phenomenal body.  by  Melissa Anne Hurt

Lessacs kinesensics: An embodied acting practice via Merleau-Pontys phenomenal body. by Melissa Anne Hurt
| NOOKstudy eTextbook | PDF, EPUB, FB2, DjVu, audiobook, mp3, ZIP | 166 pages | ISBN: 9781109631029 | 3.46 Mb

This dissertation employs Merleau-Pontys ideas of the phenomenal body to articulate how Arthur Lessacs notion and practice of kinesensics is an embodied acting practice. Embodied practices escape the dualism of training either the body or mind byMoreThis dissertation employs Merleau-Pontys ideas of the phenomenal body to articulate how Arthur Lessacs notion and practice of kinesensics is an embodied acting practice.

Embodied practices escape the dualism of training either the body or mind by instead developing the bodymind, through which knowing and being are inseparable. The bodymind includes the actors feelings, perceptions, mood, and somatic knowledge, which continuously exchange information in a biofeedback circuit. Although there have been several embodied practices to date, I propose that Arthur Lessacs kinesensics is an embodied practice since it develops the actors bodymind through awareness and responsiveness to her perceptions.

In kinesensics, the actor uses the perceptual feeling process to develop her voice and bodymind while also heightening her self-awareness in creative expression. An embodied practice includes several components. First, it incorporates the sensorial data gathered by the bodyminds perceptions into the actors self-awareness.

Second, it includes attunement between the bodymind and the environment through awareness of the tactile and kinesthetic senses. Third, it honors what the bodymind feels perceptually and emotionally while using breath and heightened awareness as a guide. This dissertation asks the following questions: How does the actor learn kinesensics through her bodymind?

How does she discover her bodyminds space and shape for expression? How does she develop subtext and determine meaning through her bodymind when working with text? This study is unique because it employs performance-based research in the form of my own creative practice with Lessacs work. Using Phenomenology of Perception (1962) as my primary text, I draw from my own practice to enrich my scholarship on kinesensics and explicate its correspondence with Merleau-Pontys ideas of the lived bodys experience.

This examination helps the reader understand how Lessacs kinesensics work as an embodied practice while also arguing how Merleau-Pontys ideas contribute toward our understanding of what this practice involves. In the Appendix, I include a biographical sketch of how Lessacs kinesensic practice developed.



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