This dissertation applies current thinking in cognitive science to elements of the actors process of preparing and performing a role. Findings in the fields of neuroscience, psychology and linguistics radically challenge the dualistic concepts that have dominated acting theory since the early twentieth century, and suggest more holistic models of the actors cognitive and expressive activities. Chapter 1 suggests how a vocabulary for nonverbal communication (nvc) drawn from social psychology can be used to analyze and describe actors communicative behavior. Chapter 2 examines the relationship of thought, language and gesture by considering Lakoff and Johnsons (L & J) analysis of how conceptual thought is metaphorically shaped by the bodys experiences in the physical world. This assessment is combined with David McNeills theory that gestures are key ingredients in an imagery-language dialectic that fuels both speech and thought. Elements of both analyses are applied to Jacques Lecoqs actor training exercises. Chapter 3 investigates the actors concepts of self and of character. This is supported by L & Js analysis of the metaphorical construction of self and of different selves, a description of the connectionist view of mind, Merlin Donalds proposition that mimesis is central to cognition, and Fauconnier and Turners theory of conceptual blending. Aspects of Michael Chekhovs approach to character are considered in the light of theses findings and theories. Chapter 4 addresses the actors sense of identification with a character. I refer to work on proprioception, LeDouxs exploration of the neural foundations of self, and Gallese and others work on mirror mechanisms in the brain that provide an experiential dimension to action and emotion understanding. I suggest that these findings validate the effectiveness of Stanislavskis Method of Physical Actions. Chapter 5 describes the findings of Antonio Damasio, Joseph LeDoux and psychologist Paul Ekman on emotion, and applies them to exercises created by Stanislavski, Strasberg, Jerzy Grotowski, Jacques Lecoq, and Susana Bloch. The Conclusion proposes a model of the theatrical act, and suggests ways in which actor training can be remodeled in the light of the information described.
| Identifer | oai:union.ndltd.org:PITT/oai:PITTETD:etd-06302010-165147 |
| Date | 30 September 2010 |
| Creators | Kemp, Richard J |
| Contributors | Dr. John Lutterbie, Dr. Bruce McConachie, Dr Attilio Favorini, Dr. Kathleen George |
| Publisher | University of Pittsburgh |
| Source Sets | University of Pittsburgh |
| Language | English |
| Detected Language | English |
| Type | text |
| Format | application/pdf |
| Source | http://etd.library.pitt.edu/ETD/available/etd-06302010-165147/ |
| Rights | unrestricted, I hereby certify that, if appropriate, I have obtained and attached hereto a written permission statement from the owner(s) of each third party copyrighted matter to be included in my thesis, dissertation, or project report, allowing distribution as specified below. I certify that the version I submitted is the same as that approved by my advisory committee. I hereby grant to University of Pittsburgh or its agents the non-exclusive license to archive and make accessible, under the conditions specified below, my thesis, dissertation, or project report in whole or in part in all forms of media, now or hereafter known. I retain all other ownership rights to the copyright of the thesis, dissertation or project report. I also retain the right to use in future works (such as articles or books) all or part of this thesis, dissertation, or project report. |
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