Acting with Both Sides of Your Brain: Perspectives on the Creative Process
"Research on right and left hemisphere brain functions provides a metaphor and possibly even a physical explanation for the dual nature of the performing experience. Investigations by psychologists and neurologists suggest that the creative, non-verbal functions of the right hemisphere of the brain are equally important to our balance as whole personalities as is the dominant left hemisphere of the brain, long believed to direct logical and verbal functions. If the dominant left hemisphere can be temporarily overridden, we gain access to the creative right functions and a healthy balance occurs. It is this balance between the two hemispheres which creates the double awareness that the audience has of the performer as both actor and character. It is the balance which permits actors the simultaneous experience of emotional release and emotional control. Further study convinced the author the right-brain/left-brain approach was indeed a useful way of organizing the development of the creative processes."--Publisher description.
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Survey Both Hemispheres
Two Brains Are Better Than One
The First Dip into Both Sides
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acting action level actor aesthetic distance appendix audience awareness beat objectives behavior black comedy body brain chapter character objectives character's circle class members class observers classmates color conscious role playing costumes create creative processes develop DISCUSSION Duperret energy environment epic theatre experience explore expression feel focus genre Georges Feydeau gestures Glass Menagerie Hotel Paradiso imagination improvisations Jessica Tandy Konstantin Stanislavsky left-brain LENNY levels of craft lines Marat/Sade mask meditation Montclair State College move MURIEL muscles Night Must Fall nonverbal obstacles partner performance person physical progressive activities radiation reactions rehearsal relationships relaxation Richard right-brain right-brain exercise right-brain functions RUTH Sam Shepard scene objective script SHEN social roles sounds space stage Stanislavsky subtext suggested superobjective Ta-ta-ta Ta-ta-ta-ta technique tempo-rhythm tension texture theatre TILLIE tions Tom Stoppard tragicomedy unconscious role playing unconsciously played roles visualize vocal voice word level York