Bibliographic record
Abstract
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.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.002 | 0.005 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.000 |
| Science and technology studies | 0.008 | 0.013 |
| Scholarly communication | 0.006 | 0.004 |
| Open science | 0.001 | 0.006 |
| Research integrity | 0.002 | 0.005 |
| Insufficient payload (model declined to judge) | 0.012 | 0.003 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".