Učitavanje...
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 |
| Izdano: |
The Theatre Academy Helsinki
2011
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| Teme: | |
| Online pristup: | http://10.26.1.76/ks/005747.pdf |
| LEADER | 02664nam a22001457a 4500 | ||
|---|---|---|---|
| 100 | |a Maya Tångeberg-Grisch |9 29992 | ||
| 245 | |a The Techniques of Gesture Language: a Theory of Practice | ||
| 260 | |b The Theatre Academy Helsinki |c 2011 | ||
| 500 | |a Doctoral dissertation Performing Arts Research Centre/Department of Acting in Swedish | ||
| 520 | |a 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. | ||
| 650 | |a HAND GESTURE; |a MUDRA; |a KUTIYATTAM; |a NANGIYARKOOTHU; |a GESTURE CODE; |a MIMIC CODE; |a EMOTION; |a DOCTORAL DISSERTATION; |a PhD THESIS |9 29993 | ||
| 856 | |u http://10.26.1.76/ks/005747.pdf | ||
| 942 | |c KS | ||
| 999 | |c 81246 |d 81246 | ||
| 952 | |0 0 |1 0 |4 0 |7 0 |9 73271 |a MGUL |b MGUL |d 2016-04-04 |l 0 |r 2016-04-04 |w 2016-04-04 |y KS | ||