1,721,028 research outputs found
Entering the Heart of Experience: First Person Accounts in Performance & Spirituality
No full textIn this paper, Middleton and Chamberlain introduce the inaugural publication of "Perspectives on Practice," which will be a new and ongiong section in "Performance and Spirituality" that will publish academically rigorous, first-person accounts of intersections between performance and spirituality.
In this article, the authors take up arguments for the development of a rigorous first-person methodology for consciousness research and apply them to the study of performance and spirituality. They outline the implications of adopting and including the first person perspective in performance research, and then explore its applicability to the particular case of the enquiry into relationships between performance and spirituality. They argue that the promotion of rigorous and contextualised first-person accounts can provide this field of study with significant data; high-quality descriptions of what Varela and Shear called “The View from Within.” Such descriptions could provide detailed insights into, for example, the nature of the performative phenomena which yield spiritual experience. Further, we shall explore the extent to which the adoption of the first-person mode of enquiry can increase, as well as illuminate, the experience in question
'Secular Sacredness' in the Ritual Theatre of Nicolás Núñez
No full textThis chapter, originally published in Performance Research in 2009, explores Núñez's theatre through the lens of consciousness studies. In particular, studies of consciousness in religious experience are drawn on to provide a frame through which to view the transformative potential, and approach to 'secular sacrality,' that Núñez's theatre represents
Case Study: The Flight of Quetzalcoatl - Teotihuacan, Mexico (2000)
No full textThis short chapter provides a participant-observer description of a ritual-theatre experience, directed by Núñez, which took place at Teotihuacan, Mexico, throughout the year 2000
Defining the Dynamics
No full textThis chapter gives the first complete overview of Núñez's unique performance training structures - the 'dynamics'. Key internal structures and principles are identified and a definition of the anthropocosmic dynamic is proposed
At Play in the Cosmos:The Theatre and Ritual of Nicolás Núñez
No full textOriginally published in TDR in 2001, this chapter introduces Núñez's theatre and analyzes his psychophysical training sequences and participatory theatre productions through the frame of ritual structure
From Poland to Huddersfield via Mexico
No full textIn this paper I’m going to talk about the work in Britain of Mexican theatre director, Nicolás Núñez, and about how that work relates to Núñez’s formative experiences with Grotowski, particularly in Theatre of Sources.
In representing Núñez, I’ll be drawing on 16 years of close contact with him, and, more directly, on three main sources: Núñez’s first book, Anthropocosmic Theatre (Núñez:1996); the chapter, The Power of Grotowski in the New Millennium (from Núñez’s second book, Teatro de Alto Riesgo,) (Núñez: 2007), and an interview which I carried out with him earlier this year, also in New York (Middleton:2009)
Buddhist Mindfulness and Psychophysical Performance
No full textThis is a very brief introductory sketch of some historical and cultural context for the relationship
between Buddhism and western theatre practices in the early 20th century. As we’ve been asked to
make sure that our presentation requires little specialist knowledge of our field, I will be simplifying
and there will inevitably be important omissions and, perhaps some over-generalizations but, I
hope, no fundamental errors
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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