Search results for 'Improvisation (Acting' (try it on Scholar)

  1. J. David Velleman (2009). How We Get Along. Cambridge University Press.
    This is the manuscript of a book on meta-ethics. From the Introduction: Maybe the grounding of morality lies closer to the social surface than philosophers like to think, neither in the structure of practical reason nor in a telos of human nature but rather in our mundane ways of muddling through together — that is, in how we get along. Our ways of getting along must themselves rest on the bedrock of practical reason and human nature, but they may form, (...)
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  2. E. Landgraf (2016). Naturalism in Improvisation and Embodiment. Constructivist Foundations 11 (3):613-615.
    Open peer commentary on the article ““Black Box” Theatre: Second-Order Cybernetics and Naturalism in Rehearsal and Performance” by Tom Scholte. Upshot: This commentary adds historical perspective to the use of improvisation and conversation as models for the promotion of naturalism in acting. It wants to denaturalize naturalism and the concept of embodiment in support of Scholte’s reconceptualization of the naturalist theatre, and concludes with a reflection on the societal function of art and theatre today.
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  3. B. Porr (2016). “Truthful” Acting Emerges Through Forward Model Development. Constructivist Foundations 11 (3):612-613.
    Open peer commentary on the article ““Black Box” Theatre: Second-Order Cybernetics and Naturalism in Rehearsal and Performance” by Tom Scholte. Upshot: My aim is to show that “truthful” acting that emerges through improvisation is equivalent to the development of mutual forward models in the actors. If these models match those of the audience members, this is perceived as “truthful.”.
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    Rachel R. Hammer, Johanna D. Rian, Jeremy K. Gregory, J. Michael Bostwick, Candace Barrett Birk, Louise Chalfant, Paul D. Scanlon & Daniel K. Hall-Flavin (2011). Telling the Patient's Story: Using Theatre Training to Improve Case Presentation Skills. Medical Humanities 37 (1):18-22.
    A medical student's ability to present a case history is a critical skill that is difficult to teach. Case histories presented without theatrical engagement may fail to catch the attention of their intended recipients. More engaging presentations incorporate ‘stage presence’, eye contact, vocal inflection, interesting detail and succinct, well organised performances. They convey stories effectively without wasting time. To address the didactic challenge for instructing future doctors in how to ‘act’, the Mayo Medical School and The Mayo Clinic Center for (...)
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