Stanislavsky’s system as an enactive guide to embodied cognition?

This paper presents a model of the structure of subjective experience derived from the work of Konstantin Stanislavsky, and demonstrates its usefulness as a functional framework of enacted cognitive embodiment by using it to articulate his approach to the process of acting. Research into Stanislavsk...

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Main Author: Ysabel Clare
Format: Article
Language:English
Published: Taylor & Francis Group 2017-01-01
Series:Connection Science
Subjects:
Online Access:http://dx.doi.org/10.1080/09540091.2016.1271397
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author Ysabel Clare
author_facet Ysabel Clare
author_sort Ysabel Clare
collection DOAJ
description This paper presents a model of the structure of subjective experience derived from the work of Konstantin Stanislavsky, and demonstrates its usefulness as a functional framework of enacted cognitive embodiment by using it to articulate his approach to the process of acting. Research into Stanislavsky’s training exercises reveals that they evoke a spatial adpositional conceptualisation of experience. When reflected back onto the practice from which it emerges, this situates the choices made by actors as contributing towards the construction of a stable attention field with which they enter into relationship during performance. It is suggested that the resulting template might clarify conceptual distinctions between practices at the unconscious level, and a brief illustrative comparison between Stanislavsky’s and Meisner’s practices is essayed. A parallel is drawn throughout with the basic principles of embodied cognition, and correlations found with aspects of Dynamic Field Theory and Wilson’s notions of “on-” and “off-line” processing.
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spelling doaj.art-93cdbb3edf0c4e46a827c6e496420b4a2023-09-15T10:47:57ZengTaylor & Francis GroupConnection Science0954-00911360-04942017-01-01291436310.1080/09540091.2016.12713971271397Stanislavsky’s system as an enactive guide to embodied cognition?Ysabel Clare0Goldsmith’s, University of LondonThis paper presents a model of the structure of subjective experience derived from the work of Konstantin Stanislavsky, and demonstrates its usefulness as a functional framework of enacted cognitive embodiment by using it to articulate his approach to the process of acting. Research into Stanislavsky’s training exercises reveals that they evoke a spatial adpositional conceptualisation of experience. When reflected back onto the practice from which it emerges, this situates the choices made by actors as contributing towards the construction of a stable attention field with which they enter into relationship during performance. It is suggested that the resulting template might clarify conceptual distinctions between practices at the unconscious level, and a brief illustrative comparison between Stanislavsky’s and Meisner’s practices is essayed. A parallel is drawn throughout with the basic principles of embodied cognition, and correlations found with aspects of Dynamic Field Theory and Wilson’s notions of “on-” and “off-line” processing.http://dx.doi.org/10.1080/09540091.2016.1271397embodied cognitionspatial adpositionalstanislavskyactingattention field
spellingShingle Ysabel Clare
Stanislavsky’s system as an enactive guide to embodied cognition?
Connection Science
embodied cognition
spatial adpositional
stanislavsky
acting
attention field
title Stanislavsky’s system as an enactive guide to embodied cognition?
title_full Stanislavsky’s system as an enactive guide to embodied cognition?
title_fullStr Stanislavsky’s system as an enactive guide to embodied cognition?
title_full_unstemmed Stanislavsky’s system as an enactive guide to embodied cognition?
title_short Stanislavsky’s system as an enactive guide to embodied cognition?
title_sort stanislavsky s system as an enactive guide to embodied cognition
topic embodied cognition
spatial adpositional
stanislavsky
acting
attention field
url http://dx.doi.org/10.1080/09540091.2016.1271397
work_keys_str_mv AT ysabelclare stanislavskyssystemasanenactiveguidetoembodiedcognition