Název: Self-experiencing in a specific form of acting improvisation
Zdrojový dokument: Theatralia. 2025, roč. 28, č. 1, s. 39-62
Rozsah
39-62
-
ISSN1803-845X (print)2336-4548 (online)
Trvalý odkaz (DOI): https://doi.org/10.5817/TY2025-1-3
Trvalý odkaz (handle): https://hdl.handle.net/11222.digilib/digilib.82046
Type: Článek
Jazyk
anglicky
Licence: CC BY-NC-ND 4.0 International
Přístupová práva
otevřený přístup
Upozornění: Tyto citace jsou generovány automaticky. Nemusí být zcela správně podle citačních pravidel.
Abstrakt(y)
The improvising actor may experience a range of feelings that may not relate to the content of their improvisation or the themes that emerge during the improvisation. Some of these feelings are even considered negative, yet they can be a positive and activating impetus for the development of play. Using the example of a specific variant of acting improvisation, which is practised from 'point zero', the article demonstrates the influence that these feelings have on inducing the creative state of the actor. For my analysis, I will make use of, among other sources, students' written reflections of the practice of the psychosomatic discipline of Dialogical Acting with the Inner Partner, which was founded by Czech actor, director, psychologist, and acting teacher Ivan Vyskočil. I will primarily focus on the feelings of embarrassment, awkwardness, boredom, amazement, wonder, and joy in play.
eng
Reference
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[23] MANN, Sandi and Rebekah CADMAN. 2014. Does Being Bored Make Us More Creative? Creativity Research Journal 26 (2014): 2: 165–173. DOI: https://doi.org/10.1080/10400419.2014.901073. | DOI 10.1080/10400419.2014.901073
[24] MEAD, George Herbert. 1972. Mind, Self, and Society from the Standpoint of a Social Behaviorist. Ed. by Charles W. Morris. Chicago/London: The University of Chicago Press, 1972. | DOI 10.1075/z.184.19mea
[25] MOURAL, Josef. 2013. Jan Patočka: A Bystander Turned Dissident. In Gnothi seauton! Classics and Communism: The History of the Studies on Antiquity in the Context of the Local Classical Traditions in the Socialist Countries 1944/45–1989/90. Budapest: Collegium Budapest, 2013: 123–124.
[26] MUSILOVÁ, Martina. 2010. Fauefekt. Vlivy Brechtova epického divadla a zcizujícího efektu v českém moderním herectví [Fauefekt. Brecht's Epic Theatre Influence on Czech Contemporary Acting]. Prague: NAMU a Brkola, 2010.
[27] MUSILOVÁ, Martina. 2014. Jindřich Honzl's Texts on Acting – Between Convention and Spontaneity. Theatralia 17 (2014): 2: 137–147.
[28] MUSILOVÁ, Martina. 2018. Stanislavski in Dialogical Acting with the Inner Partner – In the Neighbourhood with Brecht. Stanislavski Studies 6 (2018): 1: 79–83. DOI: https://doi.org/10.1080/20567790.2018.1439674. | DOI 10.1080/20567790.2018.1439674
[29] MUSILOVÁ, Martina. 2019. Notes from Lessons of Dialogical Acting with the Inner Partner for Assistants Led by Prof. Ivan Vyskočil. From the author's personal archive. 2019.
[30] MUSILOVÁ, Martina. 2024. Jednání "sám za sebe" v dané situaci. Vyskočilovo dialogické jednání s vnitřním partnerem jako průnik vlivů K. S. Stanislavského a J. L. Morena [Acting 'For Oneself' in a Given Situation. Vyskočil's Dialogical Acting with the Inner Partner as an Intersection of the Influences of K. S. Stanislavsky and J. L. Moreno]. ArteActa 12 (2024): 7: 1–21.
[31] PARSONS, Howard L. 1969. A Philosophy of Wonder. Philosophy and Phenomenological Research 30 (1969): 1: 84–101. DOI: https://doi.org/10.2307/2105923. | DOI 10.2307/2105923
[32] ROUBAL, Jan. 2011. Two Alternative Trends in Ivan Vyskočil's Nedivadlo. Transl. by Julek Neumann. In Czech Theatre Review 1989–2009. Prague: Institut umění – Divadelní ústav, 2011: 124–150.
[33] SARTRE, Jean-Paul. 1953. Being and Nothingness. New York: Washington Square Press, 1953.
[34] SPIEGEL, Simon. 2008. Things Made Strange: On the Concept of 'Estrangement' in Science Fiction Theory. Science Fiction Studies 35 (2008): 3: 369–385. | DOI 10.1525/sfs.35.3.0369
[35] STANISLAVSKI, Konstantin S. 2017. An Actor's Work: A Student's Diary. London/New York: Routledge, 2017.
[36] STEIN, Gertrude. 1998. What Are Master-pieces and Why Are There So Few of Them. In Gertrude Stein. Writings 1932–1946. New York: Library of America, 1998: 353–363.
[37] Students' Written Reflections 2013–2022. From the author's personal archive.
[38] VAN DEN OEVER, Annie and Tom GUNNING. 2020. Viktor Shklovsky's Ostrannenie and the 'Hermeneutics of Wonder'. Early Popular Visual Culture 18 (2020): 1: 15–28. DOI: https://doi.org/10.1080/17460654.2020.1751915. | DOI 10.1080/17460654.2020.1751915
[39] VYSKOČIL, Ivan. 1993. Vylučován pro nekázeň [Expelled for Indiscipline]. Interviewed by Karel Král and Ondřej Černý. Svět a divadlo 4 (1993): 5: 36–69.
[40] VYSKOČIL, Ivan. 2007. Několik otázek pro… prof. Ivana Vyskočila [A Couple of Questions for … Prof. Ivan Vyskočil] [online]. Interviewed by Jasňa Šlédrová and Irena Vaňková. Word & Sense: A Journal of Interdisciplinary Theory and Criticism in Czech Studies 8 (2007): 201–215. [accessed on 20. 4. 2024]. Available online at http://slovoasmysl.ff.cuni.cz/node/246.
[41] VYSKOČIL, Ivan. 2020. Dialogical Acting: Authorisation Information [online]. Transl. by Alexander Komlosi, ed. by Jakob Keller and Mish Rais. [accessed on 20. 4. 2024]. Available online at https://www.autorskeherectvi.cz/dialogick%C3%A9-jedn%C3%A1n%C3%AD?lang=en.
[42] VYSKOČIL, Ivan. 2021. On the Study of Acting: Inaugural Professorial Lecture upon Receiving a Professorship in Acting [online]. Transl. by Jakob Keller. Institute for Research into and Study of Authorial Acting (6. 1. 2021). [accessed on 20. 4. 2024]. Available online at https://www.autorskeherectvi.cz/post/ke-studiu-herectvi-rec-ku-priznani-profesury-voboru-herectvi-1?lang=en.
[2] BOAL, Augusto. 2005. Games for Actors and Non-Actors. Transl. by Adrian Jackson. London/New York: Routledge, 2005.
[3] BRECHT, Bertolt. 1988. A Short Organum for the Theatre. In John Willett. Brecht on Theatre: The Development of an Aesthetic. New York: Hill and Wang; London: Methuen, 1986: 179–205.
[4] BURIAN, Jarka M. 1971. Art and Relevance: The Small Theatres of Prague, 1958–1970. Educational Theatre Journal 23 (1971): 3: 229–257. | DOI 10.2307/3205353
[5] BURIAN, Jarka M. The Liberated Theatre of Voskovec and Werich. Educational Theatre Journal 29 (May 1977): 2: 153–177. | DOI 10.2307/3206218
[6] CARNICKE, Sharon Marie. 2009. Stanislavsky in Focus: An Acting Master for the Twenty-First Century. Oxon: Routledge, 2009.
[7] CARRERA, Elena. 2023. Boredom. Cambridge: Cambridge University Press, 2023. DOI: https://doi.org/10.1017/9781009412360.
[8] CHARLES, David Alfred. 2003. The Novelty of Improvisation: Towards a Genre of Embodied Spontaneity. Unpublished PhD thesis. Louisiana State University, Agricultural and Mechanical College, 2003.
[9] CLEGG, Joshua W. 2012. The Importance of Feeling Awkward: A Dialogical Narrative Phenomenology of Socially Awkward Situations. Qualitative Research in Psychology 9 (2012): 3: 262–278. DOI: https://doi.org/10.1080/14780887.2010.500357. | DOI 10.1080/14780887.2010.500357
[10] CSIKSZENTMIHALYI, Mihaly. 1990. Flow: The Psychology of Optimal Experience. New York: Harper and Row, 1990.
[11] DANCKERT, James and Andreas ELPIDOROU. 2023. In Search of Boredom: Beyond a Functional Account. Trends in Cognitive Sciences 27 (2023): 5: 494–507. DOI: https://doi.org/10.1016/j.tics.2023.02.002. | DOI 10.1016/j.tics.2023.02.002
[12] ELPIDOROU, Andreas. 2014. The Bright Side of Boredom. Frontiers in Psychology 5 (2014): 118190, 1–4. DOI: https://doi.org/10.3389/fpsyg.2014.01245 | DOI 10.3389/fpsyg.2014.01245
[13] ELPIDOROU, Andreas. 2018. The Bored Mind is a Guiding Mind. Phenomenology and the Cognitive Sciences 17 (2018): 3: 455–584. DOI: https://doi.org/10.1007/s11097-017-9515-1. | DOI 10.1007/s11097-017-9515-1
[14] EVANS, Howell Martyn. 2012. Wonder and the Clinical Encounter. Theoretical Medicine and Bioethics 33 (2012): 2: 123–136. DOI: https://doi.org/10.1007/s11017-012-9214-4. | DOI 10.1007/s11017-012-9214-4
[15] FINK, Eugen. 2012. Oasis of Happiness: Thoughts toward an Ontology of Play. Purlieu: A Philosophical Journal 1 (spring 2012): 4: 20–42.
[16] FRALEIGH, Sondra. 2019. A Phenomenology of Being Seen. In Stuart Grant, Jodie McNeilly-Renaudie and Matthew Wagner (eds.). Performance Phenomenology: To the Thing Itself. Cham: Palgrave Macmillan, 2019: 87–110. DOI: https://doi.org/10.1007/978-3-319-98059-1_5. | DOI 10.1007/978-3-319-98059-1_5
[17] GLĂVEANU, Vlad Petre. 2019. Creativity and Wonder. The Journal of Creative Behavior 53 (2019): 2: 123-258. DOI: https://doi.ogr/10.1002/jocb.225. | DOI 10.1002/jocb.225
[18] GLĂVEANU, Vlad Petre. 2022. What's 'Inside' the Prepared Mind? Not Things, but Relations. In Wendy Ross and Samantha Copeland (eds.). The Art of Serendipity. Cham: Palgrave Macmillan, 2022, 23–39. DOI: https://doi.org/10.1007/978-3-030-84478-3_2. | DOI 10.1007/978-3-030-84478-3_2
[19] HANDKE, Peter. 1970. Nauseated by Language: From an Interview with Peter Handke. Interviewed by Artur Joseph. The Drama Review: TDR 15 (autumn 1970): 1: 57–61. DOI: https://doi.org/10.2307/1144591. | DOI 10.2307/1144591
[20] HOŘÍNEK, Zdeněk. 1968. Trapno jako estetická kategorie [Boredom as an Aesthetic Category]. Host do domu 15 (1968): 10: 62–65.
[21] LAZAROWICZ, Klaus. 1997. Triadische Kollusion. Über die Beziehungen zwischen Autor, Schauspieler und Zuschauer im Theater. In Klaus Lazarowicz. Gespielte Welt. Eine Einführung in die Theaterwissenschaft an ausgewählten Beispielen. Frankfurt am Main: Peter Lang, 1997: 97–111.
[22] MACHKOVÁ, Markéta and Mish RAIS. 2024. On the Hidden Potential of Public Solitude, Part I: Ivan Vyskočil's Theatre as Encounter. Stanislavski Studies 12 (2024): 1: 69–86. https://doi.org/10.1080/20567790.2023.2286600. | DOI 10.1080/20567790.2023.2286600
[23] MANN, Sandi and Rebekah CADMAN. 2014. Does Being Bored Make Us More Creative? Creativity Research Journal 26 (2014): 2: 165–173. DOI: https://doi.org/10.1080/10400419.2014.901073. | DOI 10.1080/10400419.2014.901073
[24] MEAD, George Herbert. 1972. Mind, Self, and Society from the Standpoint of a Social Behaviorist. Ed. by Charles W. Morris. Chicago/London: The University of Chicago Press, 1972. | DOI 10.1075/z.184.19mea
[25] MOURAL, Josef. 2013. Jan Patočka: A Bystander Turned Dissident. In Gnothi seauton! Classics and Communism: The History of the Studies on Antiquity in the Context of the Local Classical Traditions in the Socialist Countries 1944/45–1989/90. Budapest: Collegium Budapest, 2013: 123–124.
[26] MUSILOVÁ, Martina. 2010. Fauefekt. Vlivy Brechtova epického divadla a zcizujícího efektu v českém moderním herectví [Fauefekt. Brecht's Epic Theatre Influence on Czech Contemporary Acting]. Prague: NAMU a Brkola, 2010.
[27] MUSILOVÁ, Martina. 2014. Jindřich Honzl's Texts on Acting – Between Convention and Spontaneity. Theatralia 17 (2014): 2: 137–147.
[28] MUSILOVÁ, Martina. 2018. Stanislavski in Dialogical Acting with the Inner Partner – In the Neighbourhood with Brecht. Stanislavski Studies 6 (2018): 1: 79–83. DOI: https://doi.org/10.1080/20567790.2018.1439674. | DOI 10.1080/20567790.2018.1439674
[29] MUSILOVÁ, Martina. 2019. Notes from Lessons of Dialogical Acting with the Inner Partner for Assistants Led by Prof. Ivan Vyskočil. From the author's personal archive. 2019.
[30] MUSILOVÁ, Martina. 2024. Jednání "sám za sebe" v dané situaci. Vyskočilovo dialogické jednání s vnitřním partnerem jako průnik vlivů K. S. Stanislavského a J. L. Morena [Acting 'For Oneself' in a Given Situation. Vyskočil's Dialogical Acting with the Inner Partner as an Intersection of the Influences of K. S. Stanislavsky and J. L. Moreno]. ArteActa 12 (2024): 7: 1–21.
[31] PARSONS, Howard L. 1969. A Philosophy of Wonder. Philosophy and Phenomenological Research 30 (1969): 1: 84–101. DOI: https://doi.org/10.2307/2105923. | DOI 10.2307/2105923
[32] ROUBAL, Jan. 2011. Two Alternative Trends in Ivan Vyskočil's Nedivadlo. Transl. by Julek Neumann. In Czech Theatre Review 1989–2009. Prague: Institut umění – Divadelní ústav, 2011: 124–150.
[33] SARTRE, Jean-Paul. 1953. Being and Nothingness. New York: Washington Square Press, 1953.
[34] SPIEGEL, Simon. 2008. Things Made Strange: On the Concept of 'Estrangement' in Science Fiction Theory. Science Fiction Studies 35 (2008): 3: 369–385. | DOI 10.1525/sfs.35.3.0369
[35] STANISLAVSKI, Konstantin S. 2017. An Actor's Work: A Student's Diary. London/New York: Routledge, 2017.
[36] STEIN, Gertrude. 1998. What Are Master-pieces and Why Are There So Few of Them. In Gertrude Stein. Writings 1932–1946. New York: Library of America, 1998: 353–363.
[37] Students' Written Reflections 2013–2022. From the author's personal archive.
[38] VAN DEN OEVER, Annie and Tom GUNNING. 2020. Viktor Shklovsky's Ostrannenie and the 'Hermeneutics of Wonder'. Early Popular Visual Culture 18 (2020): 1: 15–28. DOI: https://doi.org/10.1080/17460654.2020.1751915. | DOI 10.1080/17460654.2020.1751915
[39] VYSKOČIL, Ivan. 1993. Vylučován pro nekázeň [Expelled for Indiscipline]. Interviewed by Karel Král and Ondřej Černý. Svět a divadlo 4 (1993): 5: 36–69.
[40] VYSKOČIL, Ivan. 2007. Několik otázek pro… prof. Ivana Vyskočila [A Couple of Questions for … Prof. Ivan Vyskočil] [online]. Interviewed by Jasňa Šlédrová and Irena Vaňková. Word & Sense: A Journal of Interdisciplinary Theory and Criticism in Czech Studies 8 (2007): 201–215. [accessed on 20. 4. 2024]. Available online at http://slovoasmysl.ff.cuni.cz/node/246.
[41] VYSKOČIL, Ivan. 2020. Dialogical Acting: Authorisation Information [online]. Transl. by Alexander Komlosi, ed. by Jakob Keller and Mish Rais. [accessed on 20. 4. 2024]. Available online at https://www.autorskeherectvi.cz/dialogick%C3%A9-jedn%C3%A1n%C3%AD?lang=en.
[42] VYSKOČIL, Ivan. 2021. On the Study of Acting: Inaugural Professorial Lecture upon Receiving a Professorship in Acting [online]. Transl. by Jakob Keller. Institute for Research into and Study of Authorial Acting (6. 1. 2021). [accessed on 20. 4. 2024]. Available online at https://www.autorskeherectvi.cz/post/ke-studiu-herectvi-rec-ku-priznani-profesury-voboru-herectvi-1?lang=en.