Access the full text.
Sign up today, get DeepDyve free for 14 days.
Edith Stein (1964)
On the problem of empathy
John Pyles, E. Grossman (2012)
Neural Mechanisms for Biological Motion and Animacy
M. Jeannerod (2006)
Motor Cognition: What Actions Tell the Self
E. Straus, J. Needleman (1967)
The Primary World of Senses; A Vindication of Sensory ExperiencePhilosophy and Phenomenological Research, 28
B. Gowitzke, M. Milner (1987)
Scientific Bases of Human Movement
B. Massumi (2002)
Parables for the Virtual: Movement, Affect, Sensation
A. Basting (2001)
Dementia and the Performance of Self
E. Jentsch (1997)
On the psychology of the uncanny (1906) 1Angelaki, 2
W. Shakespeare, G. Evans, H. Levin, Herschel Baker, C. Shattuck
The Riverside Shakespeare
Alva Noë (2006)
Action in Perception
J. Patočka (1988)
Le monde naturel et le mouvement de l'existence humaine
E. Casey (2007)
The World at a Glance
Stanton Garner (1994)
Bodied Spaces: Phenomenology and Performance in Contemporary Drama
F. Simion, L. Regolin, H. Bulf (2008)
A predisposition for biological motion in the newborn babyProceedings of the National Academy of Sciences, 105
Josef Zihl, D. Cramon, N. Mai (1983)
Selective disturbance of movement vision after bilateral brain damage.Brain : a journal of neurology, 106 (Pt 2)
T. Bower (1971)
The object in the world of the infant.Scientific American, 225 4
Kenneth Gross (1992)
The dream of the moving statue
J. Gibson (1979)
The Ecological Approach to Visual Perception
Jacques Lecoq, Jean-Gabriel Carasso, Jean-Claude Lallias, D. Bradby (2002)
The moving body : teaching creative theatre
Maurice Merleau-Ponty (1963)
The structure of behavior
S. Zeki (1991)
Cerebral akinetopsia (visual motion blindness). A review.Brain : a journal of neurology, 114 ( Pt 2)
Kenneth Gross (2011)
Puppet: An Essay on Uncanny Life
J. Mrázek (2005)
Phenomenology of a Puppet Theatre: Contemplations on the Art of Javanese Wayang Kulit
[This chapter (“Movement and Animation”) examines the fundamental structures of self-movement and external movement perception. It considers the centrality of movement to animacy and the perception of animacy in living and non-living elements of one’s environment. Humans have a perceptual predisposition to recognize biological movement and involve themselves kinesthetically with movements that fall within a repertoire of familiar sensorimotor experience. The chapter applies these insights to theatre by exploring the phenomenology of animacy in performing objects and the kinesthetic dynamics of stillness and movement with actors onstage. The sections include discussions of Sandglass Theater’s puppet play about dementia, D-Generation: An Exaltation of Larks; the statue scene in Shakespeare’s The Winter’s Tale; and Samuel Beckett’s Footfalls.]
Published: Sep 22, 2018
Keywords: Statue Scene; Movement Perception; Footfall; Biological Motion; Point-light Display
Read and print from thousands of top scholarly journals.
Already have an account? Log in
Bookmark this article. You can see your Bookmarks on your DeepDyve Library.
To save an article, log in first, or sign up for a DeepDyve account if you don’t already have one.
Copy and paste the desired citation format or use the link below to download a file formatted for EndNote
Access the full text.
Sign up today, get DeepDyve free for 14 days.
All DeepDyve websites use cookies to improve your online experience. They were placed on your computer when you launched this website. You can change your cookie settings through your browser.