In Actor Training in Anglophone Countries, actor, director and theatre scholar Peter Zazzali has considerably deepened and extended his unique performative-pedagogical research. As he argued in his...

This paper examines definitions of the lived experience through a literature review that focusses the lens on both Vygotsky’s and Stanislavski’s considerations of the lived experience, or in the original Russian perezhivanie. This literature review seeks to establish both the distinction between the use of the term by the practitioners in the context of their respective fields, as well as to present the links between the rendering of the theory of perezhivanie as relevant in a contemporary creative performer training (...) learning environment. The etymology of the term perezhivanie is investigated and contextual historical readings of the term perezhivanie are presented, with connections made between the practice of the teacher in the learning environment of the actor and the teacher’s interaction with the lived experience of the student actor engaging in a creative process. (shrink)

This paper explores the influence of transpersonal thinking, including the mythological perspective of Joseph Campbell and the holotropic perspective of Stanislav Grof, on actor training using the neutral mask. An outline of training in the neutral mask is given, focusing on the approach of David Latham, as experienced by the author in his own training. Points of correspondence with the vision of Campbell and Grof, and their influence, are discriminated and discussed. These correspondences open up two (...) areas of inquiry: the transformative effect of the mask work when conducted in a transpersonally-oriented set, and the use of the neutral mask as an approach to the study of myth and archetype. Both are discussed, and some preliminary conclusions drawn based on experiences reported by student-actors and the author’s observations during his own research and his practice as actor and teacher. (shrink)

The global environmental and social-economic crises of industrialized agriculture have led to the emergence of agroecology as an alternative approach aiming to increase the ecological, social and economic sustainability of agri–food systems. The ‘multi-level perspective’ is now a widely used framework to understand and promote the upscaling of local innovation niches, such as agroecology, to broader scales (e.g., regional, national, international), thus reconfiguring the dominant socio-technical regimes. Additionally, emergent ‘hybrid forums’ can provide a space between niche and regime where niche (...) innovators can become important actors in scaling up and out emergent innovations. In this paper, we examine a university training program (Postgraduate Diploma in Local Agroecological Dynamization at the Universitat Autònoma de Barcelona), to better understand its role as a ‘hybrid forum’. Our analysis focuses especially on how the program, as an example of a hybrid forum, worked to reconfigure practices, concepts, and tools of local development practitioners. We also assess to what extent the program contributed to transitioning local development institutions toward agroecology. An online survey (n = 46) and in-depth interviews (n = 16) were carried out to determine how the training program has impacted the student’s opinions and their respective institutions. The results show that most of the students consider that they have acquired new theoretical frameworks and useful methods to re-framing their local development projects, that new alliances with multi-actor networks have been perceived, and that some internal changes of the local development practices have taken place. We conclude that the training program, as a hybrid forum, is capable of outscaling niche innovations through linkages with different kind of actors both from the niche and the regime. Political changes in the socio-technical landscape level offer an opportunity to amplify the impact of the innovations which are being generated by those multi-actor networks, but with a limited multi-level impact as far as institutional regime-actors not aligned with agroecological transition keep the most of the competencies on agri–food systems. (shrink)

The global environmental and social-economic crises of industrialized agriculture have led to the emergence of agroecology as an alternative approach aiming to increase the ecological, social and economic sustainability of agri–food systems. The ‘multi-level perspective’ is now a widely used framework to understand and promote the upscaling of local innovation niches, such as agroecology, to broader scales, thus reconfiguring the dominant socio-technical regimes. Additionally, emergent ‘hybrid forums’ can provide a space between niche and regime where niche innovators can become important (...) actors in scaling up and out emergent innovations. In this paper, we examine a university training program, to better understand its role as a ‘hybrid forum’. Our analysis focuses especially on how the program, as an example of a hybrid forum, worked to reconfigure practices, concepts, and tools of local development practitioners. We also assess to what extent the program contributed to transitioning local development institutions toward agroecology. An online survey and in-depth interviews were carried out to determine how the training program has impacted the student’s opinions and their respective institutions. The results show that most of the students consider that they have acquired new theoretical frameworks and useful methods to re-framing their local development projects, that new alliances with multi-actor networks have been perceived, and that some internal changes of the local development practices have taken place. We conclude that the training program, as a hybrid forum, is capable of outscaling niche innovations through linkages with different kind of actors both from the niche and the regime. Political changes in the socio-technical landscape level offer an opportunity to amplify the impact of the innovations which are being generated by those multi-actor networks, but with a limited multi-level impact as far as institutional regime-actors not aligned with agroecological transition keep the most of the competencies on agri–food systems. (shrink)

This article seeks to locate the body and embodiment more centrally among the concerns of actor-network theory by exploring working bodies. Using a newly introduced national system of vocational training as an exemplary case, it explores the tension between representations of skilled human bodies—‘competencies’—as given to trainers and the ways in which these representations are incorporated into their everyday practice. Vocational training has had a long struggle with the apparent separability of subject and object—between what can be (...) felt and experienced as distinct from what can be stated, measured, and expressed in words. The argument is made that paying attention to bodies in vocational training can shed light on this struggle. Paying attention to bodies in networks can also strengthen network analyses. Like texts and other forms of materiality, ‘the body’ is not singular but multiple. Furthermore, body politics constitutes an important actor-network them e. (shrink)

Performer Training is an examination of how actors are trained in different cultures. Beginning with studies of mainstream training in countries such as Poland, Australia, Germany, and the United States, subsequent studies survey: - Some of Asia's traditional training methods and recent experiments in performer training - Eugenio Barba's training methods - Jerzy Grotowski's most recent investigations - The Japanese American NOHO companies attempts at integrating Kyogen into the works of Samuel Beckett - Descriptions of (...) the training methods developed by Tadashi Suzuki and Anne Bogart at their Saratoga International Theatre Institute - Recent efforts to re-examine the role and scope of training, like Britain's International Workshop Festival and the European League of Institutes of Arts masterclasses - The reformulation of the use of emotions in performer training known as Alba Emoting. (shrink)

Background: As actors with the key responsibility for the protection of human research participants, Research Ethics Committees (RECs) need to be competent and well-resourced in order to fulfil their roles. Despite recent programs designed to strengthen RECs in Africa, much more needs to be accomplished before these committees can function optimally.Objective: To assess training needs for biomedical research ethics evaluation among targeted countries.Methods: Members of RECs operating in three targeted African countries were surveyed between August and November 2007. Before (...) implementing the survey, ethical approvals were obtained from RECs in Switzerland, Cameroon, Mali and Tanzania. Data were collected using a semi-structured questionnaire in English and in French.Results: A total of 74 respondents participated in the study. The participation rate was 68%. Seventy one percent of respondents reported having received some training in research ethics evaluation. This training was given by national institutions (31%) and international institutions (69%). Researchers and REC members were ranked as the top target audiences to be trained. Of 32 topics, the top five training priorities were: basic ethical principles, coverage of applicable laws and regulations, how to conduct ethics review, evaluating informed consent processes and the role of the REC.Conclusion: Although the majority of REC members in the targeted African countries had received training in ethics, they expressed a need for additional training. The results of this survey have been used to design a training program in research ethics evaluation that meets this need. (shrink)

In May 2011, the clinical ethics group of the Center for Ethics at Washington Hospital Center launched a 40-hour, three and one-half day Clinical Ethics Immersion Course. Created to address gaps in training in the practice of clinical ethics, the course is for those who now practice clinical ethics and for those who teach bioethics but who do not, or who rarely, have the opportunity to be in a clinical setting. “Immersion” refers to a high-intensity clinical ethics experience in (...) a busy, urban, acute care hospital. During the Immersion Course, participants join clinical ethicists on working rounds in intensive care units and trauma service. Participants engage in a videotaped role-play conversation with an actor. Each simulated session reflects a practical, realistic clinical ethics case consultation scenario. Participants also review patients’ charts, and have small group discussions on selected clinical ethics topics. As ethics consultation requests come into the center, Immersion Course participants accompany clinical ethicists on consultations. Specific to this pilot, because participants’ evaluations and course faculty impressions were positive, the Center for Ethics will conduct the course twice each year. We look forward to improving the pilot and establishing the Immersion Course as one step towards addressing the gap in training opportunities in clinical ethics. (shrink)

In May 2011, the clinical ethics group of the Center for Ethics at Washington Hospital Center launched a 40-hour, three and one-half day Clinical Ethics Immersion Course. Created to address gaps in training in the practice of clinical ethics, the course is for those who now practice clinical ethics and for those who teach bioethics but who do not, or who rarely, have the opportunity to be in a clinical setting. “Immersion” refers to a high-intensity clinical ethics experience in (...) a busy, urban, acute care hospital. During the Immersion Course, participants join clinical ethicists on working rounds in intensive care units and trauma service. Participants engage in a videotaped role-play conversation with an actor. Each simulated session reflects a practical, realistic clinical ethics case consultation scenario. Participants also review patients’ charts, and have small group discussions on selected clinical ethics topics. As ethics consultation requests come into the center, Immersion Course participants accompany clinical ethicists on consultations.Specific to this pilot, because participants’ evaluations and course faculty impressions were positive, the Center for Ethics will conduct the course twice each year. We look forward to improving the pilot and establishing the Immersion Course as one step towards addressing the gap in training opportunities in clinical ethics. (shrink)

The Bakhtin we know best is something of a lyricophobe and theatrophobe. This is surprising, since he loves the act of looking. His scenarios rely on visualized, collaborative communion. He cares deeply about embodiment. Does he care about the tasks that confront the actor? Not the improvising clown of carnival (carnival is theater only in the broad sense of performance art), but the trained artist who performs a play script on stage? In discussing these questions, this essay draws on (...) two suggestive places in Bakhtin’s writing where he addresses the actor’s art. One is from the mid-1920s; the other (1944), is on Shakespearean tragedy. If Bakhtin has a theatrical imagination, it will be found here. His grasp of an actor “living in” to a role and his comments on the evolution of the European stage cast his better-known ideas of dialogue, comedy, seriousness and the sacred into unexpected perspective. (shrink)

With the advent of the era of artificial intelligence, deep reinforcement learning has achieved unprecedented success in high-dimensional and large-scale artificial intelligence tasks. However, the insecurity and instability of the DRL algorithm have an important impact on its performance. The Soft Actor-Critic algorithm uses advanced functions to update the policy and value network to alleviate some of these problems. However, SAC still has some problems. In order to reduce the error caused by the overestimation of SAC, we propose a (...) new SAC algorithm called Averaged-SAC. By averaging the previously learned action-state estimates, it reduces the overestimation problem of soft Q-learning, thereby contributing to a more stable training process and improving performance. We evaluate the performance of Averaged-SAC through some games in the MuJoCo environment. The experimental results show that the Averaged-SAC algorithm effectively improves the performance of the SAC algorithm and the stability of the training process. (shrink)

It is relevant to interpret the perception that students with disabilities, teachers, and managers have about an inclusive educational program, to identify and describe the facilitators and barriers during the training of those students; analyze the relevance of the inclusive program from the perceptions of the participating actors; and assess the program's supports from the perception of students with disabilities. This is a mixed investigation of sequential design and phenomenological approach carried out through surveys and in-depth interviews with the (...) actors. (shrink)

Abstract:Trains, a representation of Western technology and civilization, entered China in the early twentieth century. Han Bo poeticizes this train-induced Chinese modernity and its ongoing processes by mobilizing female images and characters on, of, or around the train, itself a complex of technocultural material forces entering into the vision of the modern Chinese people both individually and collectively. This essay analyzes such a train of train images in two poems by Han Bo, “Modern Sexual Equipmentality” and “Mass-Murdering Equipmentality,” while providing (...) a brief contextual and conceptual framework for understanding some of the literary and philosophical aspects of contemporary Chinese poetry with some focus on their gender dynamics. (shrink)

Background Although simulation-based learning using simulated patients is a standard part of training in medical school, it is not yet used to the same extent in the teaching of medical ethics. There are good reasons to use simulation-based teaching, especially in clinical ethics, to gain practical experience through the situation-specific combination of knowledge, skills, and attitudes in the learning process. However, there are certain prerequisites regarding the design of simulations with actors in medical ethics education. Topics Using a concrete (...) example, this article aims to provide an overview of the development and conception of simulation and role scripts for simulations with actors to teach clinical ethics, which is an important subfield of medical ethics. The special requirements and specifics of these simulations are addressed. Conclusion Although there are some limitations with regard to integrating simulations into clinical ethics, simulation-based training of knowledge, skills, and attitudes can and should play a role in medical–ethical theory and clinical–ethical practice, not only for medical and nursing students but also in the further training of clinical ethicists. (shrink)

The human masticatory system is a complex functional unit characterized by a multitude of skeletal components, muscles, soft tissues, and teeth. Muscle activation dynamics cannot be directly measured on live human subjects due to ethical, safety, and accessibility limitations. Therefore, estimation of muscle activations and their resultant forces is a longstanding and active area of research. Reinforcement learning (RL) is an adaptive learning strategy which is inspired by the behavioral psychology and enables an agent to learn the dynamics of an (...) unknown system via policy-driven explorations. The RL framework is a well-formulated closed-loop system where high capacity neural networks are trained with the feedback mechanism of rewards to learn relatively complex actuation patterns. In this work, we are building on a deep RL algorithm, known as the Soft Actor-Critic, to learn the inverse dynamics of a simulated masticatory system, i.e., learn the activation patterns that drive the jaw to its desired location. The outcome of the proposed training procedure is a parametric neural model which acts as the brain of the biomechanical system. We demonstrate the model’s ability to navigate the feasible three-dimensional (3D) envelope of motion with sub-millimeter accuracies. We also introduce a performance analysis platform consisting of a set of quantitative metrics to assess the functionalities of a given simulated masticatory system. This platform assesses the range of motion, metabolic efficiency, the agility of motion, the symmetry of activations, and the accuracy of reaching the desired target positions. We demonstrate how the model learns more metabolically efficient policies by integrating a force regularization term in the RL reward. We also demonstrate the inverse correlation between the metabolic efficiency of the models and their agility and range of motion. The presented masticatory model and the proposed RL training mechanism are valuable tools for the analysis of mastication and other biomechanical systems. We see this framework’s potential in facilitating the functional analyses aspects of surgical treatment planning and predicting the rehabilitation performance in post-operative subjects. (shrink)

Differences in empathic abilities between acting, dance, and psychology students were explored, in addition to the appropriateness of existing empathy measures in the context of these cohorts. Students (N= 176) across Higher Education Institutions in the United Kingdom and Europe were included in the online survey analysis, consisting of the Reading the Mind in the Eyes (RME) test, the Interpersonal Reactivity Index (IRI), the Empathy Quotient (EQ), and the E-drawing test (EDT), each measuring particular facets of empathy. Based on existing (...) evidence and our understanding of the discipline practices, we predicted that acting students would perform the best at identifying people’s emotional expressions but might lack other cognitive or affective empathy skills, particularly those related to emotional reactions. This cohort thus provides an opportunity to evaluate different empathy measures. While actors showed significantly higher RME scores than dancers, the difference between actors and psychologists was marginal. Moreover, actors’ scores did not differ significantly on other empathy measures, such as their concern for others’ emotional wellbeing or fantasy, both measured by IRI subscales. Psychology students scored highest in the IRI perspective taking subscale and the data supported anecdotal evidence that psychologists were more concerned for others’ emotional wellbeing than dancers or actors. Dancers seemed the least concerned with others’ perspectives and emotional states, which we explained through a somatosensory ‘inward’ focus required by their art form. Nevertheless, compared to the general population, our groups reported higher empathic abilities on all IRI subscales except for personal distress. Altogether, our study shows that the RME, the IRI, and the EDT vary in their susceptibility to different facets of empathic abilities in acting, dance, and psychology students whereas the EQ does not. Emotions can be expressed and perceived through language, facial expressions, or behavior. As many empathy tests focus on one type of signal they might miss other strategies. Where empathy tests are applied to individuals that have a predominance to read or respond to others in a particular way, as we showed through these three disciplines, they might not capture these empathic strategies. We thus propose that empathy tests must evolve by means of integrating varied forms of communication. (shrink)

Drawing on a finance professional’s reflections on his ethical education as an economics undergraduate, Chartered Financial Analyst, and top-tier MBA graduate, this article considers the framing of, and need for philosophy in, ethical training for finance professionals. Role-playing is emphasized as helpful for developing a mature ethical approach, and theory is seen as desirable after the fact, to plan improved future action. The article problematizes an orientation in professional programs that primarily gears the teaching of ethics toward those students (...) perceived to be least ethical. This orientation seems to underlie both the education the financial professional received and current public interest in ‘more ethics’ in professional programming. As an alternative, the article reframes finance students and professionals as ethical actors whose primary dilemma concerns not how to avoid ethical transgressions, but how to better optimize the duty to self in... (shrink)

The article considers modern tendencies prevailing in the higher education system while training technical specialists nowadays. According to the authors, excluding the humanitarian courses from curriculum results in the complete dissolution of subjectivity in the impersonal world, which is deprived of “living” knowledge, that is, definite knowledge of a definite person. The application of such an approach is illustrated by the actor–network theory (ANT). While studying several works by ANT founders, it turned out to be clear that such (...) an approach eliminates any differences between natural and humanitarian, engineering, and philosophical knowledge. As a result, the net emerges consisting of numerous actants and which requires from every participant his “building‐in” a model with the functions being delegated to him in advance. The article concludes that an “alive” component is disappearing from the higher education nowadays when the main stress is being made on the knowledge acquired a priori, not a posteriori. (shrink)

We aim to focus on the mimic gestures intentionally produced to be “monstrate” to others, thus attempting to propose a semiotic analysis on the actor’s face. We shall attempt to outline the extent to which, since the rise of cinema, the actor’s face has gained a foreground role as compared to the full-figured body, and the legacy of the nineteenth-century handbooks of scenic postures was crucial in this context, especially those of Antonio Morrocchesi and Alemanno Morelli. To deal (...) with the actor’s body as an instrument, means to make it a blank page to be used to re-design the character’s body, including the face. In this regard, it is worth mentioning the method of the pedagogue Jacques Lecoq—one of the greatest teachers of contemporary theatre—which consists in the use of a special mask during the training process: the so-called neutral mask. (shrink)

Early modern medicine was much more dependent on the senses than its contemporary counterpart. Although a comprehensive medical theory existed that assigned great value to taste and odor of medicaments, historical descriptions of taste and odor appears imprecise and inconsistent to modern eyes. How did historical actors move from subjective experience of taste and odor to culturally stable agreements that facilitated communication about the sensory properties of medicaments? This paper addresses this question, not by investigating texts, but by going straight (...) to the sensory impression, which certain substances convey. The aim is not to overwrite or rectify historical descriptions but to investigate whether modern methodologies for sensory assessment can be enlisted to understand the past. We draw on history of science for framing and research questions, pharmaceutical science for knowledge of pharmaceuticals and preparations, and food and meal science for assaying procedures and protocols. We show that sensory evaluation can yield precise descriptions that would not have been alien to early modern medicine makers. However, there are problems with translating descriptions of taste between different historical contexts. By comparing contemporary descriptions of sensations with eighteenth‐century ones, the article discusses how sensory descriptions are highly dependent on context, and subject to historical change. (shrink)

This chapter introduces a research-based conceptual framework for the study of the inner psychosocial reality of business enterprises. It is called the Inner Organizational Ecosystem Approach (IOEA). This model is systemic in nature, and it defines the basic features of small and medium-size enterprises, such as elements, structures, borders, social actors, organizational climate, processes and resources. Further, it also covers the dynamics of psychosocial reality, processes, emergent qualities and the higher-order subsystems of the overall organizational ecosystem, including the global business (...) environment, which is understood as a macro-system where all the individual organizational ecosystems co-exist. In the applied part of the chapter, cognitive changes emerging within systemic leadership training are defined. Participation in systemic training causes changes in the cognitive processing of reality, more specifically improvements in layer-based framing, relativistic contextual orientation, temporality drift and meaning generation. All of these changes are components of the systemic mind, which is a concept newly proposed and defined by the present study. The systemic mind is a living matrix that is extremely open to acquiring new skills and new patterns of thinking, analyzing and meaning generation. It is processual and it can be considered as an ongoing process of continuous absorption of new cognitive patterns. Both the Inner Organizational Ecosystem Approach and the concept of the systemic mind provide a new theoretical background for empirical investigation in the fields of systemic and systems psychology, complexity psychology, organizational psychology, economic anthropology and the social anthropology of work. (shrink)

The hereafter, one of the main pillars of Islam, has been discussed by both theologians and Ṣūfīs from various angles and interpreted in many different ways. Although there is consensus on the main subjects, there are a lot of controversies in details. One of the Ṣūfīs who authored on diverse problems over the hereafter is ʿAlāʾ al-Dawla al-Simnānī (d. 736/1336). He was a Kubrawī shaykh during the Īlkhānid era. He inclined towards the Ṣūfī path after serving the Buddhist ruler Arghun (...) (r. 1284-1291) for ten years, thanks to a spiritual experience he had. He met with Nūr al-dīn ʿAbd al-Raḥmān al-Isfarāyīnī (d. 717/1317), a Kubrawī shaykh based in Baghdad, and became a disciple of him, granted ijāza (a certificate of authority) from him. Upon his shaykh’s order, he turned back to his hometown and spent his life until his death, in his Ṣūfī lodge raising disciples and writing works. He had contributed greatly both to his own order and to the literature of Ṣūfism with his disciples and written works. As regards to the hereafter, his opinions on the reality of this world and its position against the next, death, the doomsday and its kinds, the existence of the paradise and the hell today and their present location are remarkable. In this article, his views over those problems are discussed in the context of his understanding of mystical training.Summary: ʿAlāʾ al-Dawla al-Simnānī (d. 736/1336) lived between the second half of the seventh century (h.) and the first half of the eighth century, in today’s Iran, during reign of the Īlkhānid’s. Thanks to the connection of his family to the Īlkhānid court, his father and uncle’s administrative positions at the court and his will and efforts, he started to serve Arghun (r. 1284-1291) around the age of fifteen and gained his personal intimacy. After serving him for ten years, he experienced a spiritual transformation and inclined towards a mystical life. He left Arghun for his hometown Simnān, on the pretext of his disease that courtier doctors could not treated, but under the condition that he would turn back after he recovered from the disease. He got better just after a while but did not return. He arrived Simnān at the beginning of a holy month of Ramadan, took off his formal clothes and began to mystical training himself based on Abū Ṭālib al-Makkī’s Qūt al-qulūb. After a while, he met with one of the disciples of Nūr al-dīn ʿAbd al-Raḥmān al-Isfarāyīnī (d. 717/1317) and wondered about him. Then left Simnān for Baghdad with the intention of visiting him. However, Arghun was informed about this and prevented him from going to Baghdad, withholding him for some time. After a while, Simnānī escaped from Arghun and returned to Simnān and wrote a letter to al-Isfarāyīnī on this incident. In response, al-Isfarāyīnī said that he does not need to visit Baghdad, al-Isfarāyīnī would be with him spiritually and ordered him to start his training. Simnānī kept his connection alive with his shaykh during this period via letters and spiritual meetings but he could not meet with him face to face. Afterwards, he could meet him twice and granted ijāza from him.After that, upon his shaykh’s order, he turned back to Simnān and engaged with disciples’ mystical trainings and authoring books. He gained an eminent position in both his order and history of the Ṣūfism, upbringing too many disciples and writing around ninety works. His importance in the Kubraviyya rooted firstly in the fact that the extant sub-branches of the order have him in their silsila (spiritual genealogy). In this regard Simnānī is a key actor within his order. Besides, it is significant that he had great impact on the founders of two branches of the Kubraviyya, i.e. Sayyid ʿAlī Hamadānī (d. 786/1385) and Muhammad Nurbakhsh (d. 869/1464) that indicating his influence among the order itself. When examined from the angel of the history of the Ṣūfism, the most apparent and distinctive point regarding Simnānī is his criticism against Ibn ʿArabī (d. 637/1240) on the problem of being. Notwithstanding, his supreme contribution to the Ṣūfism is his doctrine of latāif, which particularly influenced Pārsā (d. 822/1240), a leading disciple of the founder of the Naqshbandiyya. Likewise his mystical experiences and thoughts on rijāl al-ghāib had also influenced subsequent Ṣūfīs. His thoughts on the problem of khawātir, which is crucial component of Kubravī path, and detailed information given in his books regarding the lights (anwār) and the truth of nūr as well as his explanations about the situations experienced during the manifestation of God can be listed among his contributions to the history of the Ṣūfism.Simnānī who wrote on various problems of Ṣūfism, dealt with the problem of the Hereafter in the context of his understanding of initiation. For the world cannot be disunited from the Hereafter, as his understanding of the Hereafter is examined, his view of the world is studied as well. With reference to the presupposition that there are three distinct dimensions of the world, Simnānī says that man’s relationship with the world should be differentiated according to following three aspects: the world’s being a plantation for the hereafter, the world’s being a place that should be abandoned and the world does not have a reality. According to him the hereafter is a continuous moment, whereas the worldly life is bound by the past and the future. Since the past and the future do not have a real being, hence the world as well does not have real being. Simnānī embraces the death and the Doomsday in an intertwined fashion in the context of his own understanding of mystical training. Approvingly the consensus of the Ṣūfis, he divides the death into two: necessary and voluntary. And he divides the Doomsday into three: big, middle and small. According to this, the wayfarer who has weakened his soul’s evil attributes via the voluntary death observes the situations of the small doomsday. Thereby the wayfarer who observed everything that is depicted in the Quran that will be experienced after the necessary death, gains time to take necessary precautions before the necessary death, which is irremediable. Another issue that Simnānī raises regarding the Doomsday is the sorts of the Doomsday. Based on the different names of the Doomsday, he says that there are different doomsdays each of which is related with one of the latāif situated among human faculties. Ultimately salvation from those doomsdays is possible with a different good deed. Another point that Simnānī comes up with is the problem of existence of the paradise and the hell today. He thinks that the paradise and the hell both exist today, with reference to his own kashf. He relates this narrating the verses and the traditions, which support his view. Besides, he accepts that there are two paradises and hells, one is inside the human nature and the other is out there. According to Simnānī, entering the outer paradise without observing one’s inner paradise is nonsense. This is possible only through a spiritual journey from one’s external being into his/her internal being. In the end, this can only be accomplished via the voluntary death. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 23-34 [Access article in PDF] Mind Ahead of the Tone:Integration of Technique and Imagination in Vocal Training at Tanglewood Summer Institute Svetlana Nikitina The use of the body and the mind at the same time is one of the most fascinating things and magic things about music. 1The purpose, indeed the sole purpose, of training for the profession of singing (...) is to improve the connection between the imagination and the sounds that eventually issue from the singer's mouth. 2The utmost goal of art is achieving unity between form and content, the subjective idea and the medium, technique and imagination. Success and livelihood of dancers, actors, and musicians depends on their ability to translate mental ideas into bodily actions and, at its height, merge technical bodily and mental wisdom so seamlessly that we would forget the path that led to it.What is this path? How do individual singers mesh, melt, and marry the technical rigor coming from years of musical training and their ability to imagine and express themselves with those tools? How is the unity betweentechnique and imagination achieved and experienced? And, what is the pedagogy that could support the connection? These are the core questions that guided the study.The goal here is not to propose a conclusive theory of connection, biological or psychological. My hope is to open the curtain for discussion of what is generally considered an "undiscussable" topic in art and music education books because it deals with what is thought of as implicit knowledge that no one could or should teach. Through my observation of Phyllis Curtin's classroom and conversations with her students, some general thoughts and principles of building unity between the technical and artistic selves of a singer emerged. I would like to share those insights and strategies.While this essay does not offer simplistic how-to strategies of fostering creative synergy, it also does not suggest that the connection just happens, [End Page 23] regardless of whether we think or teach about it. What it aspires to do is create a space for thinking about the complexity of integrative experienceand ways in which bridge-building could be facilitated. As such, it could offer insights to both beginning vocalists and voice teachers, as well as be of interest to a broader range of educators and public concerned with core issues on the integrative nature of arts education. Method To serve the goal of presenting complex experiences of creative artists, Ichose to combine analytical and descriptive elements in my research method. Building an analytical argument about the ways integration between imagination and technique could be achieved and supported, I tried to stay close to student stories of connection and disconnection, employing a qualitative rather than a quantitative method of inquiry. This takes the form of large amounts of direct interview data and personal vignettes, from which I traced general patterns of meaning. Research Context A very brief and in no way exhaustive survey of literature on voice education points to a large volume of text spent on training vocal technique. Breath control, charts depicting the larynx and the thyro-arytenoid muscle at work far outnumber chapters on interpretation or "The Work of Imagination" in musical education literature. 3There are precious few books, however, that do not keep the technical and the mental concerns separate, and give the work of imagination an explicit and central role in training of performing artists. Two of those books, Thomas Hemsley's Singing and Imagination and Michael Chekhov's On the Technique of Acting, have not fallen in my lap by chance. 4 Curtin referred to them several times in her classes as books of "singular" resonance to her own singing and teaching.Chekhov's book conceptualizes the basic processes that are involved in the actor's work on character development. These processes include extensive work on the text and its interpretation (understanding, living the text, and essentializing it in performance), in parallel with developing the body... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 23-34 [Access article in PDF] Mind Ahead of the Tone:Integration of Technique and Imagination in Vocal Training at Tanglewood Summer Institute Svetlana Nikitina The use of the body and the mind at the same time is one of the most fascinating things and magic things about music. 1The purpose, indeed the sole purpose, of training for the profession of singing (...) is to improve the connection between the imagination and the sounds that eventually issue from the singer's mouth. 2The utmost goal of art is achieving unity between form and content, the subjective idea and the medium, technique and imagination. Success and livelihood of dancers, actors, and musicians depends on their ability to translate mental ideas into bodily actions and, at its height, merge technical bodily and mental wisdom so seamlessly that we would forget the path that led to it.What is this path? How do individual singers mesh, melt, and marry the technical rigor coming from years of musical training and their ability to imagine and express themselves with those tools? How is the unity betweentechnique and imagination achieved and experienced? And, what is the pedagogy that could support the connection? These are the core questions that guided the study.The goal here is not to propose a conclusive theory of connection, biological or psychological. My hope is to open the curtain for discussion of what is generally considered an "undiscussable" topic in art and music education books because it deals with what is thought of as implicit knowledge that no one could or should teach. Through my observation of Phyllis Curtin's classroom and conversations with her students, some general thoughts and principles of building unity between the technical and artistic selves of a singer emerged. I would like to share those insights and strategies.While this essay does not offer simplistic how-to strategies of fostering creative synergy, it also does not suggest that the connection just happens, [End Page 23] regardless of whether we think or teach about it. What it aspires to do is create a space for thinking about the complexity of integrative experienceand ways in which bridge-building could be facilitated. As such, it could offer insights to both beginning vocalists and voice teachers, as well as be of interest to a broader range of educators and public concerned with core issues on the integrative nature of arts education. Method To serve the goal of presenting complex experiences of creative artists, Ichose to combine analytical and descriptive elements in my research method. Building an analytical argument about the ways integration between imagination and technique could be achieved and supported, I tried to stay close to student stories of connection and disconnection, employing a qualitative rather than a quantitative method of inquiry. This takes the form of large amounts of direct interview data and personal vignettes, from which I traced general patterns of meaning. Research Context A very brief and in no way exhaustive survey of literature on voice education points to a large volume of text spent on training vocal technique. Breath control, charts depicting the larynx and the thyro-arytenoid muscle at work far outnumber chapters on interpretation or "The Work of Imagination" in musical education literature. 3There are precious few books, however, that do not keep the technical and the mental concerns separate, and give the work of imagination an explicit and central role in training of performing artists. Two of those books, Thomas Hemsley's Singing and Imagination and Michael Chekhov's On the Technique of Acting, have not fallen in my lap by chance. 4 Curtin referred to them several times in her classes as books of "singular" resonance to her own singing and teaching.Chekhov's book conceptualizes the basic processes that are involved in the actor's work on character development. These processes include extensive work on the text and its interpretation (understanding, living the text, and essentializing it in performance), in parallel with developing the body... (shrink)

In this paper, I explore German playwright Bertolt Brecht’s conception of the art of acting, and his views on the new actor’s conduct towards their craft, as a pedagogical model for Brechts’ broader view on how we should live our lives. Drawing on his key writings – most importantly, his famous street scene essay – I will show that Brecht’s conception of the theory-practice connection in his approach to actor training/acting bears some deeper insight into Brecht’s conception (...) of the art of living a flourishing life. The new actor is called to develop a conduct of careful observation and imitation of human action, one that is marked by the pleasure and lightness of exploring the contradictory workings of the social world. By placing the actor’s craft at the heart of his educational philosophy, Brecht invites us (the audience) into the theatre as a pedagogical space. Here, not unlike Brecht’s actors, we are summoned to hone our ability to boldly engage with a complex world of human actions and ideas. Brecht maintains that there resides an intellectual as well as sensual delight in being challenged to not simply accept theatre’s presentations as ‘truth’; instead, we are to learn to ‘weigh up’, ‘test’, and ‘improvise’ joyfully with theatre’s proposed ideas and practices—so that we may find out if they serve, or hinder, the creation of a larger flourishing life (beyond the theatre): a life in which we can move together, pleasurably. (shrink)

Social justice is a concept we take for granted. We assume that it means using state structures to ensure equality and fairness. But is that true? Or, do state structures of social order actually inhibit creativity, freedom, social welfare, and belonging? This collection broadens the boundaries of the ways we think about what constitutes criminality and interrogates issues of social justice and power in new, innovative and critical ways. The essays examine a wide variety of themes, including the deconstruction of (...) concepts of freedom and equality, notions of criminality and deviance, state regulation of social order, and various aspects of feminist criminology. (shrink)

This article introduces the aesthetic theory of François Delsarte and his conception of semiotics. Delsarte created his “applied aesthetics” as a modern scientific method for artists, particularly performers, to investigate the nature of human being. Delsarte’s approach to performance involved the actor in observing human behavior, interpreting it through categories of voice, gesture, and language, and rendering it in an expansive display of types. Delsarte’s applied aesthetics involves the performer’s attention to signs and sign action, a study he called (...) séméiotique. We see Delsarte’s program for inquiry into truth in what I call the actor’s task, which develops his or her human being through observation, analysis, and creation. This was Delsarte’s “orthopedic machine for correcting crippled intellects” – the crippled intellects being those intellectuals and conservatory teachers whose ideas on aesthetics he found to be neither systematic nor attuned to God’s reason. While it is well known in theatre and dance scholarship that Delsarte’s ideas and methods advanced the training of actors, dancers, and orators, particularly in the United States, my paper instead introduces him as a voice in nineteenth-century thinking on signs and semiosis. Delsarte’s aesthetics are firmly based in Thomist assumptions about a triune god whose nature is reflected imperfectly in man. Yet it is striking that Delsarte characterizes the sign relation as mediated in a modern sense, prior to Charles Peirce’s development of his own triadic sign relation, and semiotics as a modern method of scientific inquiry. (shrink)

This chapter contains section titled: The Backstory: 1850s to 1950s The Decisive Influences: Brecht, Artaud, Grotowski The Decisive Years: 1961 to 1985 The Final Threads: Absorption of New Practices into the Profession and the Academy.

A collection of anecdotes that articulate the inspirations behind the development of the Frank/Suzuki Performance Aesthetics, an actor training system.

It was in the mid-twentieth century that the independent theatrical form based entirely on improvisation, known now as improvisational/improvised theatre, impro or improv, came into existence and took shape. Viola Spolin, the intellectual and the logician behind the improvisational movement, first used her improvised games as a WPA worker running theater classes for underprivileged youth in Chicago in 1939. But it was not until 1955 that her son, Paul Sills, together with a college theater group, the Compass Players, used Spolin’s (...) games on stage. In the 1970s Sills made the format famous with his other project, the Second City. Since the emergence of improv in the US coincides with the renaissance of improvisation in theater, in this paper, I will look back at what may have prepared and propelled the emergence of improvised theater in the United States. Hence, this article is an attempt to look at the use of improvisation in theater and performing arts in the United States in the second half of the 20th century in order to highlight the various roles and functions of improvisation in the experimental theater of the day by analyzing how some of the most influential experimental theaters used improvisation as a means of play development, a component of actor training and an important element of the rehearsal process. (shrink)

The objective of this article is to contribute to the epistemological, theoretical, methodological, and pedagogical debates concerning the relationship between research activities, training activities, and work activities. Its main focus is on new forms of engineering, thought of as cooperative and transformative. After situating the issues of the reciprocal triadic relationships between the three poles, the article presents two practical cases of transformative cooperative engineering. The authors then return to their epistemological position, which is socio-constructivist, complex, interactionist, and critical. (...) They sketch out the first elements of an elaborate system of intelligibility (multi-referential and transdisciplinary) aimed at supporting the hypothesis of an engineering process of joint transformation (trades, actors, organizations, training provision). The article also presents the research methodology (training-action-research) developed. A discussion of the issues and conditions of possibility of cooperative and transformative engineering concludes the article. (shrink)

In Improvisation, Samuel Wells defines improvisation in the theater as "a practice through which actors seek to develop trust in themselves and one another in order that they may conduct unscripted dramas without fear." Sounds a lot like life, doesn't it? Building trust, overcoming fear, conducting relationships, and making choices--all without a script. Wells establishes theatrical improvisation as a model for Christian ethics, a matter of "faithfully improvising on the Christian tradition." He views the Bible not as a "script" but (...) as a "training school" that shapes the habits and practices of the Christian community. Drawing on scriptural narratives and church history, Wells explains six practices that characterize both improvisation and Christian ethics. His model of improvisation reinforces the goal of Christian ethics--to teach Christians to "embody their faith in the practices of discipleship all the time."--Publisher description. (shrink)

The various academic works about the analysis of the actual functionning of alternation in professionnal training reveal a great descrepancy with the prescriptive model, qualified institutionnal or organisationnal model. In order to take some distance from this technical coordinative model of alternation in training, the hypothesis is made that the alternant is the one creating bonds.The results of an active resarch, based on the experimentation of a pro-training arrangement made to support this bonding work, are presented and (...) put in perspective with the initial hypothesis. This bonding work is considered a reliance activity of the alternants. Also, the pro-training arrangement built from the richness of the class-group, born from the commitment of the alternants, creates a typical dynamic which we chose to call actor-network. (shrink)