Název: Doing the work: embodied cognition, ecological psychology, and screen actor training
Zdrojový dokument: Theatralia. 2025, roč. 28, č. 1, s. 63-84
Rozsah
63-84
-
ISSN1803-845X (print)2336-4548 (online)
Trvalý odkaz (DOI): https://doi.org/10.5817/TY2025-1-4
Trvalý odkaz (handle): https://hdl.handle.net/11222.digilib/digilib.82053
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)
Regarding acting and its training as a situated activity, best apprehended through an ecological, embodied focus on mutually constitutive interactions between the actor's mind, body, and performance environment, in this work we formally examine the development of undergraduate actors' performative skills – and requisite mental and physical resources – within an undergraduate pedagogical training program in screen acting. In meeting the actor's basic responsibility – the achievement of performative reality effects – successful actors must concretely demonstrate several core competencies based on situation-specific, task-oriented activities – demonstrable skills amenable to practical instruction and assessment within the classroom as well as to theoretical scrutiny from a pragmatic psychological perspective. Our interdisciplinary research program details the instruction and acquisition of a core set of aptitudes essential to the screen actor's successful engagement with the constraints and opportunities of a demanding, medium-specific production environment.
Reference
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[33] KLEVAN, Andrew. 2005. Film Performance: From Achievement to Appreciation. London: Wallflower Press, 2005.
[34] KONIJN, Elly A. 2000. Acting Emotions. Transl. by Barbara Leach and David Chambers. Amsterdam: Amsterdam University Press, 2000.
[35] KULESHOV, Lev. 1991. The Training of the Actor. Transl. by Ron Levaco. In Jeremy Butler (ed.). Star Texts. Detroit: Wayne State University Press, 1991: 51–65.
[36] LANGE, Carl H. 1912. The Mechanism of the Emotions. Transl. by Benjamin Rand. In Benjamin Rand (ed.). The Classical Psychologists. Boston: Houghton, Mifflin and Company, 1912: 672–684.
[37] LAVE, Jean and Etienne WENGER. 1991. Situated Learning: Legitimate Peripheral Participation. Cambridge: Cambridge University Press, 1991. | DOI 10.1017/cbo9780511815355
[38] LUTTERBIE, John. 2011. Toward a General Theory of Acting: Cognitive Science and Performance. New York: Palgrave Macmillan, 2011.
[39] MCCONACHIE, Bruce and F. Elizabeth HART (ed.). 2006. Performance and Cognition: Theatre Studies and Cognitive Turn. London/New York: Routledge, 2006.
[40] MCKELLAR, Don. 2016. Telephone interview (1. 5. 2016). Interviewed by Aaron Taylor.
[41] MITA, Theodore H., Marshall Lev DERMER and Jeffrey KNIGHT. 1977. Reversed Facial Images and the Mere-Exposure Hypothesis. Journal of Personality and Social Psychology 35 (1977): 8: 597–601. DOI: https://doi.org/10.1037/0022-3514.35.8.597. | DOI 10.1037//0022-3514.35.8.597
[42] NAREMORE, James. 1988. Acting in the Cinema. Berkeley: University of California Press, 1988.
[43] O'BRIEN, Mary Ellen. 1983. Film Acting: The Techniques and History of Acting for the Camera. New York: Arco Publishing, 1983.
[44] OH, Sandra. 2016. Telephone interview (28. 4. 2016). Interviewed by Douglas MacArthur, Javid Sadr, and Aaron Taylor.
[45] PEARSON, Roberta E. 1992. Eloquent Gestures: The Transformation of Performance Style in the Griffith Biograph Films. Berkeley: University of California Press, 1992. | DOI 10.1525/9780520911048
[46] PLANTINGA, Carl. 2009. Moving Viewers: American Film and the Spectator's Experience. Berkeley: University of California Press, 2009. | DOI 10.1525/9780520943919
[47] POMERANCE, Murray. 2016. Moment of Action: Riddles of Cinematic Performance. New Brunswick: Rutgers University Press, 2016. | DOI 10.2307/j.ctt1f1hddb
[48] POMERANCE, Murray. 2019. Virtuoso: Film Performance and the Actor's Magic. New York: Bloomsbury, 2019.
[49] PUDOVKIN, V. I. 1968. Film Technique and Film Acting. Transl. and ed. by Ivor Montagu. London: Vision Press, 1968 [1933].
[50] ROTENBERG, David. 2021. Act: The Modern Actor's Handbook. Toronto: ECW Press, 2021.
[51] ROZIK, Eli. 2002. Acting: The Quintessence of Theatricality. Substance 31 (2002): 2/3: 110–124. DOI: https://doi.org/10.2307/3685481. | DOI 10.1353/sub.2002.0039
[52] SABONGUI, Patrick. 2016. Telephone interview (22. 4. 2016). Interviewed by Douglas MacArthur, Javid Sadr, and Aaron Taylor.
[53] SCHACHTER, Stanley and Jerome SINGER. 1962. Cognitive, Social, and Physiological Determinants of Emotional State. Psychological Review 69 (1962): 5: 379–399. | DOI 10.1037/h0046234
[54] SERGI, Gianluca. 1999. Acting and the Sound Gang. In Alan Lovell and Peter Krämer (eds.). Screen Acting. London: Routledge, 1999: 126–137.
[55] SKAGEN, Peter. 2016. Screen Acting Trade Secrets: How to Succeed in Hollywood without Really Acting. Calgary: Poubelle, 2016.
[56] SMITH, Murray. 1995. Engaging Characters: Fiction, Emotion, and the Cinema. Oxford: Oxford University Press, 1995.
[57] SPRINGER, Claudia and Julie LEVINSON (eds.). 2015. Acting. New Brunswick: Rutgers University Press, 2015.
[58] STANISLAVSKI, Constantin. 1989. An Actor Prepares. Transl. by Elizabeth Reynolds Hapgood. London/New York: Routledge, 1989 [1936].
[59] SZARABAJKA, Keith. 2016. Telephone interview (4. 27. 2016). Interviewed by Aaron Taylor.
[60] TUCKER, Patrick. 2023. Secrets of Screen Acting. London/New York: Routledge, 2023.
[61] UTTERBACK, Neal. 2016. The Olympic Actor: Improving Actor Training and Performance Through Sports Psychology. In Rhonda Blair and Amy Cook (eds.). Theatre, Performance and Cognition. London: Bloomsbury, 2016: 79–92. | DOI 10.5040/9781472591821.0012
[62] VAKHTANGOV, Yevgeni. 2007. Eight Lectures on the Stanislavski 'System'. In Jean Benedetti. The Art of the Actor. New York: Routledge, 2007: 128–136.
[63] WEXMAN, Virginia Wright. 1997. Creating the Couple: Love, Marriage, and Hollywood Performance. Princeton: Princeton University Press, 1997.
[64] YERKES, Robert M. and John D. DODSON. 1908. The Relation of Strength of Stimulus to Rapidity of Habit Formation. Journal of Comparative Neurology & Psychology 18 (1908): 5: 459–482. DOI: https://doi.org/10.1002/cne.920180503. | DOI 10.1002/cne.920180503
[2] AFFRON, Charles. 1977. Star Acting: Gish, Garbo, Davis. New York: E.P. Dutton, 1977.
[3] AITA, Sean. 2012. Dance of the Übermarionettes: Toward a Contemporary Screen Actor Training. In Aaron Taylor (ed.). Theorizing Film Acting. London/New York: Routledge, 2012: 256–270. | DOI 10.4324/9780203123218-27
[4] ANDERSON, Michael L. 2003. Embodied Cognition: A Field Guide. Artificial Intelligence 149 (2003): 1: 91–130. DOI: https://doi.org/10.1016/S0004-3702(03)00054-7. | DOI 10.1016/s0004-3702(03)00054-7
[5] ANONYMOUS. 2016. Telephone interview with professional Canadian actor (25. 4. 2016). Interviewed by Douglas MacArthur, Javid Sadr, and Aaron Taylor.
[6] BARON, Cynthia and Sharon CARNICKE. 2008. Reframing Screen Performance. Ann Arbor: University of Michigan Press, 2008. DOI: https://doi.org/10.3998/mpub.104480.
[7] BARON, Cynthia. 1999. Crafting Film Performances: Acting in the Hollywood Studio Era. In Alan Lovell and Peter Krämer (eds.). Screen Acting. London/New York: Routledge, 1999: 31–45.
[8] BARON, Cynthia. 2016. Modern Acting: The Lost Chapter of American Film and Theatre. London: Palgrave Macmillan, 2016.
[9] BARR, Tony. 1997. Acting for the Camera. New York: Harper Perennial, 1997.
[10] BENEDETTI, Robert. 2022. The Actor in You: Twelve Simple Steps to Understanding the Art of Acting. Long Grove: Waveland Press, 2022.
[11] BLAIR, Rhonda. 2008. The Actor, Image and Action: Acting and Cognitive Neuroscience. London/New York: Routledge, 2008.
[12] BLOCH, Susana, Pedro ORTHOUS and Guy SANTIBAÑEZ-H. 2002. Effector Patterns of Basic Emotions: A Psychophysiological Method for Training Actors. In Phillip B. Zarrilli (ed.). Acting (Re)considered. London/New York: Routledge, 2002: 219–238. | DOI 10.4324/9780203991473-17
[13] BLOCH, Susana. 2017. Alba Emoting: A Scientific Method for Emotional Induction. CreateSpace, 2017.
[14] BREWSTER, Ben and Lea JACOBS. 1997. Theatre to Cinema: Stage Pictorialism and the Early Feature Film. Oxford: Oxford University Press, 1997.
[15] BROWN, Dave. 2016. Telephone interview (28. 4. 2016). Interviewed by Aaron Taylor.
[16] CAINE, Michael. 1997. Acting in Film: An Actor's Take on Movie Making. New York: Applause Books, 1997.
[17] CARNICKE, Sharon M. 2006. The Material Poetry of Acting: 'Objects of Attention', Performance Style, and Gender in The Shining and Eyes Wide Shut. Journal of Film and Video 58 (2006): 1/2: 21–30.
[18] DAVIS, William B. 2016. Telephone interview (5. 5. 2016). Interviewed by Aaron Taylor.
[19] DELBRIDGE, Matt. 2012. The Ecological Approach to Visual Perception and the Actor Performance Captured in the Gaming Landscape. Animation Practice, Process & Production 2 (2012): 1–2: 137–149. | DOI 10.1386/ap3.2.1-2.137_1
[20] DYER, Richard. 1998. Stars. London: BFI Publishing, 1998.
[21] GIBSON, James J. 1979. The Ecological Approach to Visual Perception. New York: Houghton, Mifflin and Company, 1979.
[22] HAGEN, Uta. 1973. Respect for Acting. New York: Macmillan, 1973.
[23] HART, F. Elizabeth. 2006. Performance, Phenomenology, and the Cognitive Turn. In Bruce McConachie and F. Elizabeth Hart (eds.). Performance and Cognition: Theatre Studies and Cognitive Turn. London/New York: Routledge, 2006: 29–51. | DOI 10.1017/s0307883308004148
[24] HEDBERG OLENINA, Ana. 2020. Psychomotor Aesthetics: Movement and Affect in Modern Literature and Film. Oxford: Oxford University Press, 2020. | DOI 10.1093/oso/9780190051259.001.0001
[25] HICKS, Eric. 2016. Telephone interview (18. 4. 2016). Interviewed by Douglas MacArthur, Javid Sadr, and Aaron Taylor.
[26] HOLLINGER, Karen. 2006. The Actress: Hollywood Acting and the Female Star. London/New York: Routledge, 2006.
[27] JAMES, William. 1884. What is an Emotion? Mind 9 (1884): 34: 188–205.
[28] JONES, Edward E. and Richard E. NISBETT. 1972. The Actor and the Observer: Divergent Perceptions of the Causes of Behavior. In Edward E. Jones et al. (eds.). Attribution: Perceiving the Causes of Behaviour. Morristown: General Learning Press, 1972: 79–94.
[29] KEMP, Rick and Bruce MCCONACHIE (eds.). 2018. The Routledge Companion to Theatre, Performance and Cognitive Science. London/New York: Routledge, 2018.
[30] KEMP, Rick. 2012. Embodied Acting: What Neuroscience Tells Us about Performance. London/New York: Routledge, 2012.
[31] KGSM MediaCache. 2009. Meryl Streep: I think I am who I say I am. Video interview. YouTube [accessed on 1. 10. 2024]. Available online at www.youtube.com/watch?v=7PBW_8YM09I&t=0s.
[32] KIRBY, Michael. 1972. On Acting and Not-Acting. The Drama Review 16 (1972): 1: 3–15. DOI: https://doi.org/10.2307/1144724. | DOI 10.2307/1144724
[33] KLEVAN, Andrew. 2005. Film Performance: From Achievement to Appreciation. London: Wallflower Press, 2005.
[34] KONIJN, Elly A. 2000. Acting Emotions. Transl. by Barbara Leach and David Chambers. Amsterdam: Amsterdam University Press, 2000.
[35] KULESHOV, Lev. 1991. The Training of the Actor. Transl. by Ron Levaco. In Jeremy Butler (ed.). Star Texts. Detroit: Wayne State University Press, 1991: 51–65.
[36] LANGE, Carl H. 1912. The Mechanism of the Emotions. Transl. by Benjamin Rand. In Benjamin Rand (ed.). The Classical Psychologists. Boston: Houghton, Mifflin and Company, 1912: 672–684.
[37] LAVE, Jean and Etienne WENGER. 1991. Situated Learning: Legitimate Peripheral Participation. Cambridge: Cambridge University Press, 1991. | DOI 10.1017/cbo9780511815355
[38] LUTTERBIE, John. 2011. Toward a General Theory of Acting: Cognitive Science and Performance. New York: Palgrave Macmillan, 2011.
[39] MCCONACHIE, Bruce and F. Elizabeth HART (ed.). 2006. Performance and Cognition: Theatre Studies and Cognitive Turn. London/New York: Routledge, 2006.
[40] MCKELLAR, Don. 2016. Telephone interview (1. 5. 2016). Interviewed by Aaron Taylor.
[41] MITA, Theodore H., Marshall Lev DERMER and Jeffrey KNIGHT. 1977. Reversed Facial Images and the Mere-Exposure Hypothesis. Journal of Personality and Social Psychology 35 (1977): 8: 597–601. DOI: https://doi.org/10.1037/0022-3514.35.8.597. | DOI 10.1037//0022-3514.35.8.597
[42] NAREMORE, James. 1988. Acting in the Cinema. Berkeley: University of California Press, 1988.
[43] O'BRIEN, Mary Ellen. 1983. Film Acting: The Techniques and History of Acting for the Camera. New York: Arco Publishing, 1983.
[44] OH, Sandra. 2016. Telephone interview (28. 4. 2016). Interviewed by Douglas MacArthur, Javid Sadr, and Aaron Taylor.
[45] PEARSON, Roberta E. 1992. Eloquent Gestures: The Transformation of Performance Style in the Griffith Biograph Films. Berkeley: University of California Press, 1992. | DOI 10.1525/9780520911048
[46] PLANTINGA, Carl. 2009. Moving Viewers: American Film and the Spectator's Experience. Berkeley: University of California Press, 2009. | DOI 10.1525/9780520943919
[47] POMERANCE, Murray. 2016. Moment of Action: Riddles of Cinematic Performance. New Brunswick: Rutgers University Press, 2016. | DOI 10.2307/j.ctt1f1hddb
[48] POMERANCE, Murray. 2019. Virtuoso: Film Performance and the Actor's Magic. New York: Bloomsbury, 2019.
[49] PUDOVKIN, V. I. 1968. Film Technique and Film Acting. Transl. and ed. by Ivor Montagu. London: Vision Press, 1968 [1933].
[50] ROTENBERG, David. 2021. Act: The Modern Actor's Handbook. Toronto: ECW Press, 2021.
[51] ROZIK, Eli. 2002. Acting: The Quintessence of Theatricality. Substance 31 (2002): 2/3: 110–124. DOI: https://doi.org/10.2307/3685481. | DOI 10.1353/sub.2002.0039
[52] SABONGUI, Patrick. 2016. Telephone interview (22. 4. 2016). Interviewed by Douglas MacArthur, Javid Sadr, and Aaron Taylor.
[53] SCHACHTER, Stanley and Jerome SINGER. 1962. Cognitive, Social, and Physiological Determinants of Emotional State. Psychological Review 69 (1962): 5: 379–399. | DOI 10.1037/h0046234
[54] SERGI, Gianluca. 1999. Acting and the Sound Gang. In Alan Lovell and Peter Krämer (eds.). Screen Acting. London: Routledge, 1999: 126–137.
[55] SKAGEN, Peter. 2016. Screen Acting Trade Secrets: How to Succeed in Hollywood without Really Acting. Calgary: Poubelle, 2016.
[56] SMITH, Murray. 1995. Engaging Characters: Fiction, Emotion, and the Cinema. Oxford: Oxford University Press, 1995.
[57] SPRINGER, Claudia and Julie LEVINSON (eds.). 2015. Acting. New Brunswick: Rutgers University Press, 2015.
[58] STANISLAVSKI, Constantin. 1989. An Actor Prepares. Transl. by Elizabeth Reynolds Hapgood. London/New York: Routledge, 1989 [1936].
[59] SZARABAJKA, Keith. 2016. Telephone interview (4. 27. 2016). Interviewed by Aaron Taylor.
[60] TUCKER, Patrick. 2023. Secrets of Screen Acting. London/New York: Routledge, 2023.
[61] UTTERBACK, Neal. 2016. The Olympic Actor: Improving Actor Training and Performance Through Sports Psychology. In Rhonda Blair and Amy Cook (eds.). Theatre, Performance and Cognition. London: Bloomsbury, 2016: 79–92. | DOI 10.5040/9781472591821.0012
[62] VAKHTANGOV, Yevgeni. 2007. Eight Lectures on the Stanislavski 'System'. In Jean Benedetti. The Art of the Actor. New York: Routledge, 2007: 128–136.
[63] WEXMAN, Virginia Wright. 1997. Creating the Couple: Love, Marriage, and Hollywood Performance. Princeton: Princeton University Press, 1997.
[64] YERKES, Robert M. and John D. DODSON. 1908. The Relation of Strength of Stimulus to Rapidity of Habit Formation. Journal of Comparative Neurology & Psychology 18 (1908): 5: 459–482. DOI: https://doi.org/10.1002/cne.920180503. | DOI 10.1002/cne.920180503