On the Hidden Potential of Public Solitude, Part II: Cultivating Multiple Attention in Students-Performers

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F61384984%3A51210%2F24%3AN0000020" target="_blank" >RIV/61384984:51210/24:N0000020 - isvavai.cz</a>

Výsledek na webu

<a href="https://www.tandfonline.com/doi/full/10.1080/20567790.2024.2394930?scroll=top&needAccess=true" target="_blank" >https://www.tandfonline.com/doi/full/10.1080/20567790.2024.2394930?scroll=top&needAccess=true</a>

DOI - Digital Object Identifier

<a href="http://dx.doi.org/10.1080/20567790.2024.2394930" target="_blank" >10.1080/20567790.2024.2394930</a>

Jazyk výsledku

angličtina

Název v původním jazyce

On the Hidden Potential of Public Solitude, Part II: Cultivating Multiple Attention in Students-Performers

Popis výsledku v původním jazyce

This is the Part II that follows after “On the Hidden Potential of Public Solitude, Part I: Ivan Vyskočil and his Theatre as Encounter.” As promised, we show how Stanislavsky’s public solitude and creative state, elaborated by Ivan Vyskočil (towards a dialogical theatre as encounter), meet with the instant composition practice of Julyen Hamilton. We see the common points in the making on the stage, which requires a simultaneous functioning of different kinds of attention: in their creative state in the condition of public solitude, the performer works from the positions of the actor, the viewer, and the author at the same time. Stanislavsky, Vyskočil, and Hamilton were/are all performing arts practitioners, moreover, theorizing practitioners, and pedagogues. In this Part II, we therefore shift our focus towards pedagogy and inquire into ways multiple attention can be cultivated in students-performers. This study makes part of our practice-based research, in which we reflect on our pedagogical experience at the Academy of Performing Arts in Prague and the University of Neuchâtel. We build on Vyskočil’s view of pedagogues as performers in public situations of education, pointing out that even pedagogues can work-teach as actors, viewers, and authors at the same time; teaching takes place in the present moment with students, with the teacher being in the creative state, instant composition, and theatre as encounter. We reflect on our experience using the current streams of dialogicality and embodiment in psychology and education, entering a dialogue with psychologists studying attention and embodied learning.

Název v anglickém jazyce

On the Hidden Potential of Public Solitude, Part II: Cultivating Multiple Attention in Students-Performers

Popis výsledku anglicky

This is the Part II that follows after “On the Hidden Potential of Public Solitude, Part I: Ivan Vyskočil and his Theatre as Encounter.” As promised, we show how Stanislavsky’s public solitude and creative state, elaborated by Ivan Vyskočil (towards a dialogical theatre as encounter), meet with the instant composition practice of Julyen Hamilton. We see the common points in the making on the stage, which requires a simultaneous functioning of different kinds of attention: in their creative state in the condition of public solitude, the performer works from the positions of the actor, the viewer, and the author at the same time. Stanislavsky, Vyskočil, and Hamilton were/are all performing arts practitioners, moreover, theorizing practitioners, and pedagogues. In this Part II, we therefore shift our focus towards pedagogy and inquire into ways multiple attention can be cultivated in students-performers. This study makes part of our practice-based research, in which we reflect on our pedagogical experience at the Academy of Performing Arts in Prague and the University of Neuchâtel. We build on Vyskočil’s view of pedagogues as performers in public situations of education, pointing out that even pedagogues can work-teach as actors, viewers, and authors at the same time; teaching takes place in the present moment with students, with the teacher being in the creative state, instant composition, and theatre as encounter. We reflect on our experience using the current streams of dialogicality and embodiment in psychology and education, entering a dialogue with psychologists studying attention and embodied learning.

Druh

J_imp - Článek v periodiku v databázi Web of Science

CEP obor

—

OECD FORD obor

60403 - Performing arts studies (Musicology, Theater science, Dramaturgy)

Projekt

—

Návaznosti

I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace

Rok uplatnění

2024

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název periodika

Stanislavski studies : practice, legacy and contemporary theater

ISSN

2056-7790

e-ISSN

2054-4170

Svazek periodika

12

Číslo periodika v rámci svazku

2

Stát vydavatele periodika

GB - Spojené království Velké Británie a Severního Irska

Počet stran výsledku

27

Strana od-do

173-199

Kód UT WoS článku

001329238500001

EID výsledku v databázi Scopus

2-s2.0-85205785841