Thesis (M.F.A.)--Kent State University, 2009. / Title from PDF t.p. (viewed Feb. 17, 2010). Advisor: Mark Monday. Keywords: Alba Emoting; Michael Chekhov. Includes bibliographical references (p. 36).

Thesis (M.A.)--Brigham Young University. Dept. of Theatre and Media Arts, 2008. / Includes bibliographical references (p. 120-127).

No description available.

Orientador: Verônica Fabrini Machado de Almeida / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-28T13:52:41Z (GMT). No. of bitstreams: 1 Campos_EstebanJavierAlvarez_M.pdf: 36608014 bytes, checksum: 8e1016909f9b7d6d85dd4285fbdab884 (MD5) Previous issue date: 2014 / Resumo: Esta dissertação pretende expor uma visão positiva das emoções, a partir das descobertas científicas feitas na área da neuroplasticidade e das ideias sobre corpo, emoção e mente, propostas pelo neurocientista António Damásio, com o objetivo de desmistificar a tradicional noção cartesiana que supõe uma separação radical entre razão e emoção. A presente investigação procura levantar uma discussão pouco explorada a respeito do trabalho e treinamento do ator com as emoções, propondo uma abordagem biológica e concreta, situando as emoções em um terreno mais acessível para o ator, utilizando o corpo como referência. No primeiro capítulo, busca-se aprofundar e organizar a confusa percepção que temos das emoções, classificando-as segundo a visão evolucionista e apontando à importante diferença que existe entre emoção e sentimento. Visando estabelecer um referencial histórico a respeito do trabalho do ator com as emoções, o segundo capítulo ressalta os diversos estilos e perspectivas que, desde as origens do teatro ocidental até hoje, os atores têm utilizado para trabalhar com a expressão e interpretação das emoções. Vislumbrando uma possível saída ante a problemática própria do dilema do ator, que implica na decisão do ator de involucrar-se, ou não, com as emoções do personagem, no terceiro capítulo será apresentada a metodologia de indução emocional, Alba Emoting¿, desenvolvida pela psicóloga chilena Susana Bloch / Abstract: This research intends to present a positive view of emotions, from scientific discoveries made in the field of neuroplasticity and from the ideas about body, mind and emotion, proposed by neuroscientist António Damásio, aiming to demystify the Cartesian notion that presupposes a radical separation between reason and emotion. The following investigation seeks to raise a little explored discussion about the actor's work and training with emotions, proposing both biological and concrete approaches, situating emotions in a more "accesible" way for the actor, using the actor's body as a reference. In the first chapter, we seek to deepen and organize the confused perception we have of emotions, classifying them according to the evolutionary view and pointing out the important difference between emotion and feeling. To establish a historical reference about the actor's work with emotions, the second chapter highlights the diverse styles and perspectives that the actors have used to work with the expression and performance of emotions, from the origins of Western theater until today. Envisioning a possible solution before the problematic actor¿s dilemma, which means the actor¿s decision to be envolved, or not, on the character-emotions, in the third chapter, the methodology of emotional induction Alba Emoting¿, developed by the Chilean psychologist Susana Bloch, will be presented / Mestrado / Artes da Cena / Mestre em Artes da Cena

The purpose of this study was to determine the effects of tenderness on problem solving. Thirty-four female undergraduates participated. In the experimental condition, participants received instructions to reproduce a specific respiratory-posturo-facial pattern that had induced tenderness in previous studies. Participants in the control condition performed a non-emotional exercise. After either the pattern or the control exercise, participants completed one of two jigsaw puzzles. One puzzle had only an empty room while the other had a family scene. For participants who worked on the room puzzle, the tenderness pattern led to longer completion times. In contrast, for participants who worked on the family puzzle, the tenderness pattern led to shorter completion times.

This thesis proposes that Alba Emoting™ is a safe, effective, and versatile technique of generating emotions for acting performance. Alba Emoting is safe because it resolves four major problems some actors experience while generating emotions for acting performance. These problems include, &ldqup;emotional hijacking,” “emotional hangover,” “emotional blockage,” and using emotional memories which are faded, incomplete, inconsistent, or full of mixed emotions. Alba Emoting solves these four problems through the help of certified trainers, the step-out procedure, and the emotional effector patterns, which allow actors consistent access to a large range of emotions. Alba Emoting is effective because it enables actors to control emotional inspiration through technique to create emotions that are felt by the actor and audience. It is versatile because it can be integrated with various rehearsal and emotional exploration techniques. This thesis demonstrates how Alba Emoting may be used with aspects of Stanislavski's System of Acting and Jeremy Whelan's Mosaic Acting System. It also demonstrates how Alba Emoting is used by Hyrum Conrad to create his ArcWork. The purpose of this thesis is to convince universities, conservatories, and other acting training programs to teach Alba Emoting as a technique for generating emotion in acting performance.