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Toward a general theory of acting : cognitive science and performance

Record Type:	Electronic resources : monographic
Title Information:	cognitive science and performance
Author:	LutterbieJohn Harry, 1948-
Place of Publication:	New York
Published:	Palgrave Macmillan;
Year of Publication:	2011
Edition:	1st ed.
Description:	1 online resource (x, 269 p.)
Series:	Cognitive studies in literature and performance
Subject:	Acting - Philosophy. -
Subject:	Theatre. -
Subject:	Fine Arts. -
Subject:	PERFORMING ARTS - Acting & Auditioning. -
Subject:	PERFORMING ARTS - Theater -
Subject:	PERFORMING ARTS - Theater -
Online resource:	http://www.palgraveconnect.com/doifinder/10.1057/9780230119468An electronic book accessible through the World Wide Web; click for information
Notes:	Description based on print version record.
Summary:	Toward a General Theory of Acting explores the actor's art through the lens of Dyclmic Systems Theory and recent findings in the Cognitive Sciences. An analysis of different theories of acting in the West from Stanislavski to Lecoq is followed by an in depth discussion of technique, improvisation, and creating a score. In the final chapter, the focus shifts to how these three are interwoven when the actor steps in front of an audience, whether performing realist, non-realist, or postdramatic theatre. Far from using the sciences to reduce acting to a formula, Lutterbie celebrates the mystery of the creative process.
ISBN:	9780230119468electronic bk.
ISBN:	0230119468electronic bk.
ISBN:	9780230342538
ISBN:	0230342531
Content Note:	The Language of Acting �Theatre and Dyclmic Systems Theory �The Actor's Tools �Technique �Improvisation �The Actor's Score �In Performance. Machine generated contents note: The Language of Acting _Theatre and Dyclmic Systems Theory _The Actors Tools _Technique _Improvisation _The Actors Score _In Performance.

Toward a general theory of acting : cognitive science and performance
Lutterbie, John Harry

Toward a general theory of acting : cognitive science and performance / John Lutterbie. - 1st ed.. - New York : Palgrave Macmillan, 2011. - 1 online resource (x, 269 p.). - (Cognitive studies in literature and performance).
The Language of Acting *�Theatre and Dyclmic Systems Theory *�The Actor's Tools *�Technique *�Improvisation *�The Actor's Score *�In Performance..
Description based on print version record..
Includes bibliographical references (p. [249]-254) and index..
ISBN 9780230119468ISBN 0230119468ISBN 9780230342538ISBN 0230342531
ActingTheatre.Fine Arts.PERFORMING ARTSPERFORMING ARTSPERFORMING ARTS -- Philosophy. -- Acting & Auditioning. -- Theater -- Theater

Toward a general theory of acting : cognitive science and performance
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300 $a Description based on print version record.
320 $a Includes bibliographical references (p. [249]-254) and index.
327 1 $a The Language of Acting *�Theatre and Dyclmic Systems Theory *�The Actor's Tools *�Technique *�Improvisation *�The Actor's Score *�In Performance. $a Machine generated contents note: $a The Language of Acting *_Theatre and Dyclmic Systems Theory *_The Actors Tools *_Technique *_Improvisation *_The Actors Score *_In Performance.
330 $a Toward a General Theory of Acting explores the actor's art through the lens of Dyclmic Systems Theory and recent findings in the Cognitive Sciences. An analysis of different theories of acting in the West from Stanislavski to Lecoq is followed by an in depth discussion of technique, improvisation, and creating a score. In the final chapter, the focus shifts to how these three are interwoven when the actor steps in front of an audience, whether performing realist, non-realist, or postdramatic theatre. Far from using the sciences to reduce acting to a formula, Lutterbie celebrates the mystery of the creative process. $a "Toward a General Theory of Acting explores the actors art through the lens of Dyclmic Systems Theory and recent findings in the Cognitive Sciences. An analysis of different theories of acting in the West from Stanislavski to Lecoq is followed by an in depth discussion of technique, improvisation, and creating a score. In the final chapter, the focus shifts to how these three are interwoven when the actor steps in front of an audience, whether performing realist, non-realist, or postdramatic theatre. Far from using the sciences to reduce acting to a formula, Lutterbie celebrates the mystery of the creative process"--
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