Search Results for cognitive

... (in a largely already mentioned, at the same time subject-agent and subject-patient. automatic manner) on the theatrical performance in question in iii) Overcome the misleading juxtaposition between the cognitive order to underline the importance of the communicative context and its...

.... Embodied, Embedded, Extended, and Enacted mind: 33. 4E cognition describes humans as not only in constant conversation with other species already, 34. but the structure of the human brain as in constant adjustment to its living environment. 35. We are vibrant assemblages of ongoing perceptual, cognitive...

... to contemplate? In the mid-­1970s, Thomas Weiskel examined the sublime in Romantic poetry from the perspective of structuralist linguistics, reorienting Kant’s sublime toward a 60 Digital Landscape feeling of cognitive rupture in which...

... Dresher. With Anne Bogart we’re going to do a piece that will begin a series on theater and science; Anne is doing a piece based on the brain and cognition with seven writers commissioned to do episodes of a story. Hopefully it will have a narrative by a scientist, a psychologist, a fi ction...

.... Indeed, Lupa teaches to maintain this state of constant readiness for new experiences. The moment you say “I know this for sure” is the end of your journey toward cognition, because it signifies the loss of your goal and the plunge of your spirit into indolence. (I presume Lupa is familiar...

... backward. The reflective sensations of this cognitive-­somatic embrace, as Foster demonstrates in Choreographing Empathy across a dazzling array of kinesthetic phenomena, occur even when the earth doesn’t move. Kinesthetic empathy does offer us one way of understanding why performance works...

..., to assign them meaning. Thus, these codes function as a guide to locate ourselves in society, allowing us to decipher its forms and dynamics. In other words, such capacity corresponds to a cognitive apprehension of the world, a rational knowledge that fulfills the functions of socialization...

... opposition to all later aesthetic theories. dramaturgy would repeat what philosophy has gone through long These theories, following Hegel, regarded art as the gestalt (form) of ago: its becoming silent in face of the autonomy of art. cognition or perception and therefore defined the work of art as a kind...

... that threatencd his goal (com- “Night of’ thc Long Knives suggests the possibility of breaking the munism) to his Marxist system of reference, Muller radically qucs- cycle of opportunism fuelled by the naked will to survive. One brother tions the notion of the subject who - through cognition - can - fascist...

... Hill and Clarence Thomas a a medical textbook. Sharp eyed and second broken skull (“Shattered Skulls: Rodney hng sighted, Phelan retraces the ancient cognitive re- and Holbein’s The Ambassadorsa collapsed lationship of “theater” and “seeing” that sup- liver (“Failed Live(r)s: Whatever Happened...

... for knowledge, our cognitive libido. Dead End Kids is not, as the subtitle of the play sug- Mabou Mines’ latest’work, Dead End gests, a chronological examination...

... Resolution tries to channel students’ Youth, NYC Board of Education, and NYC Department of negative acting-out behavior into more creative directions Youth Services, CAT developed an AIDS workshop by heightening cognitive awareness. The program consists specifically designed to rescue...

... 2. Problem-solving skills 3. Motor skills (both large and small) Guidelines for the Regional Theater 4. Cognitive skills (memory, vocabulary, etc.) As an organization dedicated solely to the purpose of 5. Perceptual skills...

... musical) and allow “instant immersion, because the recipient is spared the cognitive effort of building a world and its inhabitants from a largely blank slate.”2 Chiel Kattenbelt thinks of transmediation through Vsevolod Meyer­hold’s “cinematification” of theater in the 1920s, where stage design...

... 13 cognitive process tends to merge single impressions into a whole which can be dealt with as an object, character, event, or story...

...’ reception, the game-playing motif, so present in Gombrowicz’s early writing, escaped the attention of most review- ers. “They didn’t capture the element of a game: with a reader, with a cognitive stereo- type . . . nobody took up the challenge to come together with the hero, to look with his eyes...

.... There is no that of establishment. The style at Epic Settings ranging from a Chinese distinction between the aesthetic and West is dry, fearful almost, lest any real mountain landscape to the dramatic the cognitive function. Spectators...

... lives, indelible marks on our cognitive own formulations. He shrewdly casts himself as the arbiter maps. And it is romantic and naive to believe otherwise. of artistic endeavor: he wants art to be important, precious, I wonder what Steiner would think of Elvis, or Marilyn transcendent; he wants...

... and Oedipus’s blinding, and fol- lows it with a bloodied, moaning Oedipus, he links cognition to emotion and forces an audience to contemplate both. The pile of bodies, wheeled out from the site of killing 9 sellar...

... to cofacilitate a course titled Moving Texts. It was to be an exploration of the two vocabularies of the body and the spoken/written word. The conundrums that came out of that room provided, for me, the kind of enduring cognitive irritation which, were it within an oyster, would provoke a pearl. I was deeply...