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[null,"1.","Record Nr.",null,"UNINA9910462418803321"]
[null,null,"Autore",null,"Kemp Rick <1958-, >"]
[null,null,"Titolo",null,"Embodied acting : what neuroscience tells us about performance / / Rick Kemp"]
[null,null,"Pubbl/distr/stampa",null,"London ; ; New York : , : Routledge, , 2012"]
[null,null,"ISBN",null,"1-283-60563-5"]
[{"$nulls":4},"9786613918086"]
[{"$nulls":4},"1-136-45404-7"]
[{"$nulls":4},"0-203-12611-4"]
[null,null,"Descrizione fisica",null,"1 online resource (257 p.)"]
[null,null,"Disciplina",null,"792.02/8"]
[null,null,"Soggetti",null,"Acting - Psychological aspects"]
[{"$nulls":4},"Actors - Psychology"]
[{"$nulls":4},"Cognitive neuroscience"]
[{"$nulls":4},"Electronic books."]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Note generali","Description based upon print version of record."]
[null,null,null,"Nota di bibliografia","Includes bibliographical references and index."]
[null,null,"Nota di contenuto",null,"Embodied Acting What neuroscience tells us about performance; Copyright; Contents; List of figures; List of tables; Acknowledgements; Preface; Introduction; Chapter 1 Why should theatre people be interested in cognitive studies?; Chapter 2 How does the actor communicate meaning non-verbally?; Chapter 3 What is the relationship between thought, physical action, and language?; Chapter 4 How does the actor create a character?; Chapter 5 How does the actor identify with the character?; Chapter 6 How does the actor embody emotion in fictional circumstances?; Conclusion; Notes; Bibliography; Index"]
[null,null,null,"Sommario/riassunto","'A focus on the body, its actions, and its cognitive mechanisms identifies ... foundational principles of activity that link the three elements of theatre; Story, Space, and Time. The three meet in, are defined by, and expressed through the actor's body.' - from the Introduction?Embodied Acting is an essential, pragmatic intervention in the study of how recent discoveries within cognitive science can - and should - be applied to performance. For too long, a conceptual separation of mind and body has dominated actor training in the West. Cognitive science has shown this binary to be illusory,"]