Body as vehicle

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F61384984%3A51210%2F25%3AN0000096" target="_blank" >RIV/61384984:51210/25:N0000096 - isvavai.cz</a>

Výsledek na webu

<a href="https://dicam.unime.it/sites/dip12/files/2025-05/Progamma%20Convegno%20Cognitive%20Tools%20in%20Action.pdf" target="_blank" >https://dicam.unime.it/sites/dip12/files/2025-05/Progamma%20Convegno%20Cognitive%20Tools%20in%20Action.pdf</a>

DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

Body as vehicle

Popis výsledku v původním jazyce

The prevailing line of Czech theatre theory is largely based on reception aesthetics (ZICH, 1931), i.e., theatre performances or performance phenomena in general can only be examined as a spectator. However, my question is: who is the spectator? With my professional training, my perception cannot be the same as that of spectators who are professionals in other fields. That is why we talk about the "expert spectator." However, this label is where all differentiation ends—and the position of the "expert spectator" remains undefined to this day. The central theme of my presentation is the ways in which spectators perceive actors. Specifically, I focus on the spectators' perception of the actor's body as a fundamental means of communication on stage. In this conference paper, I outlined the definition of this position and linked the idea of the expert spectator to Francisco Varela's neurophenomenological training. I expressed the most important views on the physicality of the performer (KOUBOVÁ, SJÖSTRÖM, 2019) and linked them to the issue of casting (COOK, 2016), structural semiotics (ZICH, 1931, ETLÍK, 1999), and the neurophenomenological approach (VARELA, 1996). The presentation of a mosaic of potential representations will enrich the dialogue on performance and acting. // ADAMOVÁ, Marie. Body as vehicle. Conference paper. In Cognitive Futures in The Arts and Humanities Cognitive Tools in Action Messina (Italy) 2025 – 28-30 May 2025. 2025.

Název v anglickém jazyce

Body as vehicle

Popis výsledku anglicky

The prevailing line of Czech theatre theory is largely based on reception aesthetics (ZICH, 1931), i.e., theatre performances or performance phenomena in general can only be examined as a spectator. However, my question is: who is the spectator? With my professional training, my perception cannot be the same as that of spectators who are professionals in other fields. That is why we talk about the "expert spectator." However, this label is where all differentiation ends—and the position of the "expert spectator" remains undefined to this day. The central theme of my presentation is the ways in which spectators perceive actors. Specifically, I focus on the spectators' perception of the actor's body as a fundamental means of communication on stage. In this conference paper, I outlined the definition of this position and linked the idea of the expert spectator to Francisco Varela's neurophenomenological training. I expressed the most important views on the physicality of the performer (KOUBOVÁ, SJÖSTRÖM, 2019) and linked them to the issue of casting (COOK, 2016), structural semiotics (ZICH, 1931, ETLÍK, 1999), and the neurophenomenological approach (VARELA, 1996). The presentation of a mosaic of potential representations will enrich the dialogue on performance and acting. // ADAMOVÁ, Marie. Body as vehicle. Conference paper. In Cognitive Futures in The Arts and Humanities Cognitive Tools in Action Messina (Italy) 2025 – 28-30 May 2025. 2025.

Druh

O - Ostatní výsledky

CEP obor

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OECD FORD obor

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

Projekt

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Návaznosti

I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace

Rok uplatnění

2025

Kód důvěrnosti údajů

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