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Kinesthetic Spectatorship in the TheatreLanguage, Speech, and Movement

Kinesthetic Spectatorship in the Theatre: Language, Speech, and Movement [This chapter (“Language, Speech, Movement”) considers the function of language and verbal performance in the kinesthetic interchange between actors and spectators. Drawing upon the work of cognitive scientists and linguists, it explores two ways that language and speech condition theatrical kinesthesis. The first is through utterance, the kinetic process by which the body moves to produce meaningful sound. The second is through language itself, which—grounded in the body’s sensorimotor capacities—carries its own, linguistically embodied modes of action. In addition to continuing the discussion of Harold Pinter’s The Homecoming begun in Chap. 4, this chapter includes discussions of Eugene O’Neill’s The Emperor Jones, Shakespeare’s King Lear and Macbeth, and Complicite’s immersive theatre production The Encounter, with Simon McBurney.] http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png

Kinesthetic Spectatorship in the TheatreLanguage, Speech, and Movement

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References (29)

Publisher
Springer International Publishing
Copyright
© The Editor(s) (if applicable) and The Author(s) 2018
ISBN
978-3-319-91793-1
Pages
185 –222
DOI
10.1007/978-3-319-91794-8_6
Publisher site
See Chapter on Publisher Site

Abstract

[This chapter (“Language, Speech, Movement”) considers the function of language and verbal performance in the kinesthetic interchange between actors and spectators. Drawing upon the work of cognitive scientists and linguists, it explores two ways that language and speech condition theatrical kinesthesis. The first is through utterance, the kinetic process by which the body moves to produce meaningful sound. The second is through language itself, which—grounded in the body’s sensorimotor capacities—carries its own, linguistically embodied modes of action. In addition to continuing the discussion of Harold Pinter’s The Homecoming begun in Chap. 4, this chapter includes discussions of Eugene O’Neill’s The Emperor Jones, Shakespeare’s King Lear and Macbeth, and Complicite’s immersive theatre production The Encounter, with Simon McBurney.]

Published: Sep 22, 2018

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