By John Matthews
We educate simply because we're human and we develop into human simply because we educate.
This is the extraordinary and unique end of Anatomy of functionality Training, during which John Matthews indicates how education is a truly human reaction to the issues of getting a physique and dwelling on the planet.
Using illustrative case-studies perform, every one bankruptcy addresses a selected physique half, supplying a self-contained dialogue of its symbolic and useful importance within the creative, and advertisement, actions of teaching. those anatomical case-studies are cross-referenced with different disciplines (such as game, excessive diving, deep diving and artisan craft) to additional extend our figuring out of functionality. Stand-alone chapters, perfect for reference, construct in the direction of an total end that the uniquely human perform of educating is rising as a brand new and pervasive ideology globally.
Ideal for readers trying to comprehend the connection the physique has with the theatre and coaching, or for lecturers searching for a brand new, cutting edge method of functionality, Anatomy of functionality Training is an available, unique contribution to the philosophy of teaching for performance.
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Extra info for Anatomy of Performance Training
65 Following this convention I have chosen to begin each chapter with a vignette from a training or performance context. HAND begins in the seventeenth century with Galileo Galilee and FOOT somewhere in West Wales in the 1990s. The millennial deep-diving of Audrey Mestre and Francisco ‘Pipín’ Ferreras provides the premise for HEART, while Tom Daley’s Olympic high diving begins the chapter EAR. A fictional description of the actress Sarah Bernherdt in character for a role that she never played leads onto an historical account of John the Baptist in the chapter MOUTH.
38 ANATOMY OF PERFORMANCE TRAINING Pressing back to this historical point from closer to the present day might start with the American and European traditions of improvization where mime is known as ‘object work’ and the handling of objects, both real and virtual, forms a part of a number of performer training approaches. One example of the use of real objects in training can be found in the so-called Meisner Technique, developed by a member of The Group Theatre, Sanford Meisner. 18 The exercise is usually constructed for two participants.
Aristotle’s interest in the hand as executant is codified by Quintilian (c. 35–c. 100) to show precisely how hands express sentiment. Book XI of Institutions of Oratory lists hand gestures to show assertiveness, condemnation, refutation, modesty, surprise, inquisitiveness, invocation, approval, remorse, anger, revulsion, objection, apology and gestures HAND 47 to emphasize, explain, clarify and accumulate one’s thoughts, feelings, ideas and arguments. The hand, for Quintilian as for Aristotle, is expert and can be trained to serve the human will not only in the execution of survival tasks but also through the accumulation of social power.
Anatomy of Performance Training by John Matthews