Notice bibliographique
Résumé
From Rape to Rapture: The Art of Performing Emotion is an investigation into the methods, means, and mechanisms performers in past and present have used in order to realize emotions on stage. The resulting questions lead to the analysis of both historical and contemporary schools of acting as well as texts on emotion studies from a number of disciplines. Overall, this investigation will contribute to the re-evaluation of the performance of emotion in contemporary actor training. The goal of the investigation is to highlight the multifaceted practice of performing emotion by adding fieldwork as example of current practice based upon work with Richard Schechner’s Rasaboxes Exercises. This technique was first developed with the East Coast Artists in the early 90s, and later developed in various forms by former company members including myself. This empirical research on acting techniques stands in a symbiotic relationship to current emotion studies in the sciences and to historical acting practices. Despite the affective turn experienced in the humanities as well as in the sciences, its application to contemporary acting techniques is still underdeveloped. In the attempt to reevaluate those techniques this project also has a pedagogical aim, namely to increase the current acting student’s ability to perform emotion and to be better equipped for the heightened emotional states that are increasingly expected on stage and screen. The Emotion Laboratory at Concordia University in Montreal, Canada, was instituted in 2006 with the goal of investigating the performer’s affective body and the performed, embodied emotion, through the use of the rasaboxes exercise. In chapter one the affect terminology and diverging views on emotion processes in the fields of neuroscience, psychology and philosophy are discussed. Following this exploration, chapter two analyzes rasa theory as laid out in the Natyashastra in as much as it is relevant to the work in the rasaboxes. In chapter three rasaboxes exercise and other current practices are connect to historic theories of acting from the eighteenth century. The discussion of the exercises themselves in chapter four allows to draw comparison to current trends in North American actor training. Following this chapter on training, chapter five is concerned with the application of the emotion work to the rehearsal and performance process, using as example a production of Oedipus. In conclusion, the more metaphysical states of performance such as rapture and transcendence are briefly investigated. This overall structure shows the broad spectrum of the emotion processes by linking seemingly diverging roads of investigation back to the guiding question: how is the performed emotion defined.
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,001 | 0,001 |
| Méta-épidémiologie (sens strict) | 0,001 | 0,001 |
| Méta-épidémiologie (sens large) | 0,001 | 0,000 |
| Bibliométrie | 0,002 | 0,005 |
| Études des sciences et des technologies | 0,001 | 0,000 |
| Communication savante | 0,001 | 0,002 |
| Science ouverte | 0,002 | 0,001 |
| Intégrité de la recherche | 0,001 | 0,001 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,003 | 0,002 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; les deux têtes enseignantes s’accordent sur ce qui est montré ici.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».