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Full Description
"How do we move actors into the less accessible regions of themselves and release hotter, more dangerous, and less literal means of approaching a role?"
Superscenes are a revolutionary new mode of teaching and rehearsal, allowing the actor to discover and utilize the primal energies underlying dramatic texts. In Acting, Archetype, and Neuroscience Jane Drake Brody draws upon a lifetime's experience in the theatre, alongside the best insights into pedagogical practice in the field, the work of philosophers and writers who have focused on myth and archetype, and the latest insights of neuroscience.
The resulting interdisciplinary, exciting volume works to:
Mine the essentials of accepted acting theory while finding ways to access more primally-based human behavior in actors
Restore a focus on storytelling that has been lost in the rush to create complex characters with arresting physical and vocal lives
Uncover the mythical bones buried within every piece of dramatic writing; the skeletal framework upon which hangs the language and drama of the play itself
Focus on the actor's body as the only place where the conflict inherent in drama can be animated.
Acting, Archetype, and Neuroscience weaves together a wealth of seemingly disparate performance methods, exciting actors to imaginatively and playfully take risks they might otherwise avoid. A radical new mixture of theory and practice by a highly respected teacher of acting, this volume is a must-read for students and performance practitioners alike.
Contents
Preface
Introduction
Section One: Origins
Chapter 1: Returning to Mythic Roots
Physical Beginnings of Acting
Current Actor Training
Current Training
Hymn: To Vulcan (Hephaistos), Fumigation from Frankincense and Manna
Chapter 2: Resurrecting Mythic Stories
Linking Neuroscience and Archetypal Mythology
Chapter 3: Primary Conflict and the Hero's Journey
Primary Conflict: Order Versus Chaos
Peter and Wendy
Section Two: The Exercises and the Work
Chapter 4: The Exercises
Meditation
Magnets
Push, Pull, Hold, Release
Sticks
Viewpoints
Second Viewpoints Class: Contact and Company
Day Three: Company, Architecture, and Music
Chapter 5: Beginning Superscenes
Text and Archetypes
Fourth Session: Exercise: Using the Monomyth
A Linear Representation of the Hero's Journey
Inciting Incident: Exact Scene? Exact Line? Exact Rationale?
Chapter 6: Two Hero's Journeys
The Hero's Journey of Muhammad Ali
Hamlet's Journey: A Brief and Debatable Look at Hamlet as Hero
Chapter 7: Bridging and Superscenes
Bridges
Superscenes
Superscenes and Memory
Section Three: Neuroscience and Images
Chapter 8: Mirror Neurons, Emotions, Memory, Meditation, Embodiment, and Images
The Limbic System
The Eternally Balancing Body
Meditation
Phenomenology: The Study of the Experience of Intention
Mirror Neurons
Second Person Interactivity: MNs
The Use of Metaphor, Image, and Active Words
Memory: Images and the Brain
Memory, Archetype, and Mirror Neurons
Memory Consolidation
Chapter 9: Archetypal Patterns
Family Stories
CG Jung
Archetypal Patterns of Plots
Chapter 10: Archetypal Journey; In The Blood by Susan Lori Parks
The Ancient Story, Myth and Archetype
Protagonist/Antagonist Statement
Hester's Hero's Journey
Chapter 11: Conclusion
Bibliography
Index
