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The Techniques of Gesture Language: a Theory of Practice
This thesis presents the findings of its author’s artistic research on non- encoded, widely understandable gesture language techniques. It is based on practical experience and of the empirical skills of the field. An analysis is made of the techniques of hand gesture (which includes fa- cial express...
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| Format: | Printed Book |
| Wydane: |
The Theatre Academy Helsinki
2011
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| Hasła przedmiotowe: | |
| Dostęp online: | http://10.26.1.76/ks/005747.pdf |
| Streszczenie: | This thesis presents the findings of its author’s artistic research on non-
encoded, widely understandable gesture language techniques. It is based on
practical experience and of the empirical skills of the field.
An analysis is made of the techniques of hand gesture (which includes fa-
cial expression and body movement as integral parts) found in the European
pantomime of the 19 th century and in the Indian abhinaya of kūṭiyāṭṭaṃ and
naṅṅyārkūttu ̆ .
At first, the fragments of European pantomime techniques are compiled
and selected examples are presented, described and compared with their
Indian counterpart. The techniques which the two disciplines seem to share
are scrutinized.
Gesture is seen as the abbreviation of physical action. The starting point
is visual perception, which is the very foundation for all comprehension of
gesture. Gesture is not perceived as a whole, but as a cluster of partial units
of spatial-temporal character. It is therefore broken down into its smallest
components containing information, here called argumemes. By the con-
scious use of these argumemes, gesture can be stylized and amplified in order
to facilitate effective communication.
Gesture language and facial expression are analyzed in the light of the re-
sults of contemporary neuro-science and neuro-aesthetics. Additionally, the
acting modules of facial expression (as established in the Nāṭyaśāstra and
developed in kūṭiyāṭṭaṃ ) are analyzed and the affinities between the bhāva-
rasa method of producing theatrical emotion and some specific results of
neuro-scientific research on emotion are presented.
A concise method to connect external and internal acting is established.
It challenges contemporary acting techniques with an alternative, physio-
cognitive approach. A possible grammar and syntax for a non-encoded but
creative, widely understandable gesture language is proposed. Finally, the
research results are summed up in the foundation of a theory of practice. |
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| Deskrypcja: | Doctoral dissertation Performing Arts Research Centre/Department of Acting in Swedish |