Acting Archetype And Neuroscience

"How do we move actors into the less accessible regions of themselves and release hotter, more dangerous, and less literal means of approaching a role?" Superscenes are a revolutionary new mode of teaching and rehearsal, allowing the actor to discover and utilize the primal energies underlying dramatic texts. In Acting, Archetype, and Neuroscience Jane Drake Brody draws upon a lifetime's experience in the theatre, alongside the best insights into pedagogical practice in the field, the work of philosophers and writers who have focused on myth and archetype, and the latest insights of neuroscience. The resulting interdisciplinary, exciting volume works to: Minethe essentials of accepted acting theory while finding ways to access more primally-based human behavior in actors Restorea focus on storytelling that has been lost in the rush to create complex characters with arresting physical and vocal lives Uncoverthe mythical bones buried within every piece of dramatic writing; the skeletal framework upon which hangs the language and drama of the play itself Focuson the actor's body as the only place where the conflict inherent in drama can be animated. Acting, Archetype, and Neuroscienceweaves together a wealth of seemingly disparate performance methods, exciting actors to imaginatively and playfully take risks they might otherwise avoid. A radical new mixture of theory and practice by a highly respected teacher of acting, this volume is a must-read for students and performance practitioners alike. hat has been lost in the rush to create complex characters with arresting physical and vocal lives Uncoverthe mythical bones buried within every piece of dramatic writing; the skeletal framework upon which hangs the language and drama of the play itself Focuson the actor's body as the only place where the conflict inherent in drama can be animated. Acting, Archetype, and Neuroscienceweaves together a wealth of seemingly disparate performance methods, exciting actors to imaginatively and playfully take risks they might otherwise avoid. A radical new mixture of theory and practice by a highly respected teacher of acting, this volume is a must-read for students and performance practitioners alike.

"How do we move actors into the less accessible regions of themselves and release hotter, more dangerous, and less literal means of approaching a role?" Superscenes are a revolutionary new mode of teaching and rehearsal, allowing the actor to discover and utilize the primal energies underlying dramatic texts. In Acting, Archetype, and Neuroscience Jane Drake Brody draws upon a lifetime’s experience in the theatre, alongside the best insights into pedagogical practice in the field, the work of philosophers and writers who have focused on myth and archetype, and the latest insights of neuroscience. The resulting interdisciplinary, exciting volume works to: Mine the essentials of accepted acting theory while finding ways to access more primally-based human behavior in actors Restore a focus on storytelling that has been lost in the rush to create complex characters with arresting physical and vocal lives Uncover the mythical bones buried within every piece of dramatic writing; the skeletal framework upon which hangs the language and drama of the play itself Focus on the actor’s body as the only place where the conflict inherent in drama can be animated. Acting, Archetype, and Neuroscience weaves together a wealth of seemingly disparate performance methods, exciting actors to imaginatively and playfully take risks they might otherwise avoid. A radical new mixture of theory and practice by a highly respected teacher of acting, this volume is a must-read for students and performance practitioners alike.

"How do we move actors into the less accessible regions of themselves and release hotter, more dangerous, and less literal means of approaching a role?" Superscenes are a revolutionary new mode of teaching and rehearsal, allowing the actor to discover and utilize the primal energies underlying dramatic texts. In Acting, Archetype, and Neuroscience Jane Drake Brody draws upon a lifetime’s experience in the theatre, alongside the best insights into pedagogical practice in the field, the work of philosophers and writers who have focused on myth and archetype, and the latest insights of neuroscience. The resulting interdisciplinary, exciting volume works to: Mine the essentials of accepted acting theory while finding ways to access more primally-based human behavior in actors Restore a focus on storytelling that has been lost in the rush to create complex characters with arresting physical and vocal lives Uncover the mythical bones buried within every piece of dramatic writing; the skeletal framework upon which hangs the language and drama of the play itself Focus on the actor’s body as the only place where the conflict inherent in drama can be animated. Acting, Archetype, and Neuroscience weaves together a wealth of seemingly disparate performance methods, exciting actors to imaginatively and playfully take risks they might otherwise avoid. A radical new mixture of theory and practice by a highly respected teacher of acting, this volume is a must-read for students and performance practitioners alike.

The Actor, Image and Action is a 'new generation' approach to the craft of acting; the first full-length study of actor training using the insights of cognitive neuroscience. In a brilliant reassessment of both the practice and theory of acting, Rhonda Blair examines the physiological relationship between bodily action and emotional experience. In doing so she provides the latest step in Stanislavsky's attempts to help the actor 'reach the unconscious by conscious means'. Recent developments in scientific thinking about the connections between biology and cognition require new ways of understanding many elements of human activity, including: imagination emotion memory physicality reason. The Actor, Image and Action looks at how these are in fact inseparable in the brain's structure and function, and their crucial importance to an actor’s engagement with a role. The book vastly improves our understanding of the actor's process and is a must for any actor or student of acting.

The Mother, the Lover, the Trickster, the Spiritual and Temporal Leader, the Devil-these are just some of the universal essences, known as archetypes, that lie deep within the human spirit; these are forces that we all recognize and embody in some capacity. Acting and Singing with Archetypes is a groundbreaking, experiential book that uses archetypes as the basis of an unprecedented method of study for actors and singers. By using fifteen archetype explorations that employ vocal exercises, mask making, monologue and scene work, breathing exercises, role playing, storytelling, singing, meditation, self-reflection, and more, this book empowers actors to interpret character and voice in exciting, untraditional ways. The explorations ultimately leave performing artists with the tools they need to develop their theatrical roles to the fullest, utilize their singing and speech abilities with the widest range of emotion, and unlock their overall creative potential. The book also reinforces the importance of breathing, relaxing, stretching, and other physical techniques that enable healthy practice of the craft. Geared toward theatre teachers, directors, and theatre workshop leaders, this is an incredible teaching tool, accompanied by a CD of demonstrative recordings of vocal exercises and other guiding content sung and spoken by authors Janet B. Rodgers and Frankie Armstrong. Book jacket.

Have you been working as an actor, but want to refine your craft and take your performance to the next level? Or do you want to transition from stage to screen acting and would like to better understand the skills required? In this essential book for actors, Amanda Brennan offers a specifically psychophysical approach to screen acting, which provides an understanding of the body as the springboard for creative exploration. Starting with understanding your own instrument, you will learn how to prepare and tune the body for creative work. This is followed by strategies for the refinement of craft, including exercises on voice, movement, character development and rehearsal processes for screen. Experienced actors, directors, casting directors and industry professionals, such as Asa Butterfield (The Boy in the Striped Pajamas, Hugo, Sex Education), Noah Jupe (Honey Boy, The Quiet Place,The UnDoing), Janis Pugh (Chuck Chuck Baby) and James Kent (Testament of Youth, The Aftermath) and Rebecca Lloyd offer their comments and share invaluable experiences throughout the book.

What is good acting? How does one create believable characters? How can an actor understand a character if they do not understand themselves? In The Science of Acting, Sam Kogan uses his theories on the relationship between neuroscience, psychology and acting to answer these questions. Practical exercises provide a step-by-step guide to developing an actor's ability, culminating in Ten Steps to Creating a Character. He presents the reader with a groundbreaking understanding of the subconscious and how it can be applied to their acting. The author’s highly original perspective on Stanislavski's teaching gives readers a unique insight into their character’s minds. Sam Kogan studied at the Moscow Institute of Theatre Arts (now the Russian Academy of Theatre Arts) under the tutelage of Professor Maria Knebel. He established The Science of Acting, a complete stand-alone technique. Helen Kogan is the chair and former principal of The Academy of Science of Acting and Directing, has helped to shape her father's words and work for the publication of this book.

A pragmatic intervention in the study of how recent discoveries within cognitive science can and should be applied to performance. Drawing on his experience the author interrogates the key cognitive activities involved in performance inc non-verbal communication; thought, speech, and gesture relationships; empathy, imagination, and emotion.