Achieved spontaneity and spectator’s performative experience – The motor dimension of the actor-spectator relationship

Sofía, Gabriele

doi:10.1075/aicr.89.05sof

Cited by 4 publications

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“…In the task we chose, the actors are not explicitly required to perform as “actors.” Their abilities are indirectly elicited in a context that does not prompt them to adopt a theatrical posture, such as strong physical engagement (as discussed by Sofia, 2013a ). Instead, the task resembles an everyday situation.…”

Section: Discussionmentioning

confidence: 99%

Theater practice and interpersonal synchronization behaviors: a pilot study comparing actors and non-actors

Sofia,

Mager,

Brunel

et al. 2024

Front. Hum. Neurosci.

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Recent studies in the field of theater studies no longer view theater as an object, but rather as a dynamic relationship between actors and spectators. In an embodied and situated perspective of cognition, imagination emerges as a product of this dynamic. This study aims to investigate whether acting practice enhances someone’s abilities to set up an effective relationship with others and allows the individual to better manage not only the relationship itself, but also her/his own feelings and those of her/his partner. Eighty two healthy Italian adults, with no communication disorders, including 43 actors (Mage = 25.4; S.D. = 3.64) and 39 non-actors (Mage = 24.1 = S.D. = 4.17) completed a joint verbal production task named Random Sequence Generation (RSG) task. Initially, participants performed the task individually. Subsequently, in a second phase, they worked in pairs with another participant, taking turns to contribute to a shared sequence. Pairings were predetermined to ensure a balanced mix of actors and non-actors, and to prevent participants from having prior relationships. Following the task, subjects were queried about their sense of presence, and, their perception of entitativity with their partner. We observed a replication of previous studies, showing higher RSG scores and reduced repetition in the paired condition, indicative of coupling and synchronization behavior. Within pairs, the level of the sense of presence of both partners was positively correlated. Furthermore, an interaction effect between the sense of presence and acting experience on the perception of entitativity was observed. Specifically, actors described perceived entitativity with their partners when their sense of presence was heightened, whereas non-actors experienced a decrease in perceived entitativity with their partners under similar circumstances. We discuss the results and limitations of the study, suggesting the effect of artistic practice on the development of a sort of dual-task ability which enables actors to organize their sensations and actions while sustaining a meaningful connection with others. This research represents an interdisciplinary collaboration between theater studies and cognitive sciences, highlighting the value of a multidisciplinary approach to research.

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Section: Discussionmentioning

confidence: 99%

Theater practice and interpersonal synchronization behaviors: a pilot study comparing actors and non-actors

Sofia,

Mager,

Brunel

et al. 2024

Front. Hum. Neurosci.

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Movement, Attention, and Intentionality

GarnerJr.

2018

Kinesthetic Spectatorship in the Theatre

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Acting the metaphor: the Laban–Malmgren system of movement psychology and character analysis

Mirodan¹

2015

Theatre, Dance and Performance Training

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The article discusses certain features of The Laban-Malmgren System of Movement Psychology and Character Analysis, an influential actor training methodology which has helped to shape the thinking and work of some of the most expressive actors of our time, including Anthony Hopkins, Colin Firth, Michael Fassbender and Tom Hardy. The System is an original synthesis of Rudolf Laban’s late-career ideas on movement, Jungian typology and Stanislavskian physical action, brought together by the dancer and acting teacher Yat Malmgren (1916-2002). The System continues to be taught in conservatoires and University drama departments across the world. \ud \ud The distinguishing feature of the System is the direct link it posits between physical (Motion Factors - Laban) and psychological (Mental Factors - Jung) concepts, from which it develops a classification of character and action into ‘Inner and Action Attitudes. The article outlines the principal pedagogical approach of the System, the ‘scenario’, modelled on the work of the American solo performer Ruth Draper; it also illustrates the application of the System in professional practice. The article considers the System from the perspective of Metaphorical Concept Theory (Lakoff and Johnson). Finally, the article describes the outcomes of the training in a transformation-oriented acting mode defined as ‘attenuated Expressionism’

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Achieved spontaneity and spectator’s performative experience – The motor dimension of the actor-spectator relationship

Cited by 4 publications

References 0 publications

Theater practice and interpersonal synchronization behaviors: a pilot study comparing actors and non-actors

Theater practice and interpersonal synchronization behaviors: a pilot study comparing actors and non-actors

Movement, Attention, and Intentionality

Acting the metaphor: the Laban–Malmgren system of movement psychology and character analysis

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