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Montaż świadomościowy – neurokognitywna analiza praktyk Wsiewołoda Meyerholda

100%
Ciesielski T.
Kultura Współczesna. Teoria. Interpretacje. Praktyka
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2018
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vol. 99
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issue 1
95-106
EN
The article suggests using the context of the latest neurocognitive research as a source of a new paradigm used in knowledge of theatre area analysis. It can be used in reinterpreting historical aesthetics of the performing arts and its cognitive-imaginative patterns. The analysis of Vsevolod Meyerhold’s practice, carried out with the use of contemporary works focusing on the topic of perception of emotions and movement and neuronal simulation rooted in the concept of the embodied cognition.
2
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Michail Čechov a eurytmie Rudolfa Steinera

100%
Nadaud P.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
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2023
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vol. 26
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issue 2
104-116
EN
The author of the study aims to compare Mikhail Chekhov's and Rudolf Steiner's concepts of acting. He examines how Steiner's and Chekhov's teachings correspond in three basic concepts of Chekhov's technique: the Higher Self, Psychological Gesture, and True Imagination. Chekhov incorporated the teachings of eurythmy into the training programs he created and led, and therefore, in the conclusion, the author assesses the complementary nature of Chekhov's and Steiner's approaches to creating and running training programs for actors and actresses.
CS
Autor studie si klade za cíl porovnat pojetí herectví Michala Čechova a Rudolfa Steinera. Zkoumá, jak si odpovídají Steinerovo a Čechovovo učení ve třech základních konceptech Čechovovy techniky: vyšší Já, psychologické gesto a pravdivá představivost. Čechov začlenil učení eurytmie do výukových programů, které vytvářel a vedl, a proto v závěru autor hodnotí komplementární povahu Čechovova a Steinerova přístupu k tvorbě a vedení vzdělávacího programu pro herce a herečky.
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