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El. knyga: The Feldenkrais Method in Creative Practice: Dance, Music and Theatre

Edited by (Feldenkrais practitioner, UK)
  • Formatas: 256 pages
  • Išleidimo metai: 28-Jan-2021
  • Leidėjas: Methuen Drama
  • ISBN-13: 9781350158399
Kitos knygos pagal šią temą:
The Feldenkrais Method in Creative Practice: Dance, Music and TheatreDidesnis paveikslėlis
  • Formatas: 256 pages
  • Išleidimo metai: 28-Jan-2021
  • Leidėjas: Methuen Drama
  • ISBN-13: 9781350158399
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Bringing together scholars and researchers in one volume, this study investigates how the thinking of the Ukrainian-Israeli somatic educationalist Moshe Feldenkrais (1904-84) can benefit and reflect upon the creative practices of dance, music and theatre.

Since its inception, the Feldenkrais Method has been associated with artistic practice, growing contiguously with performance, cognitive and embodied practices in dance, music, and theatre studies. It promotes awareness of fine motor action for improved levels of action and skill, as well as healing for those who are injured. For creative artists, the Feldenkrais Method enables them to refine and improve their work.

This book offers historical, scientific and practical perspectives that develop thinking at the heart of the Method and is divided into three sections: Historical Perspectives on Creative Practice, From Science into Creative Practice and Studies in Creative Practice. All the essays provide insights into self-improvement, training, avoiding injury, history and philosophy of artistic practice, links between scientific and artistic thinking and practical thinking, as well as offering some exercises for students and artistic practitioners looking to improve their understanding of their practice.

Ultimately, this book offers a rich development of the legacy and the ongoing relevance of the Feldenkrais Method. We are shown how it is not just a way of thinking about somatic health, embodiment and awareness, but a vital enactivist epistemology for contemporary artistic thought and practice.

Recenzijos

An ambitious and informative journey - full of studio insights for the Feldenkrais practitioner, and timely observations at the intersection of art practice, neuroscience, and psychology. * Annie Loui, UC Irvine, USA * I encountered the Feldenkrais methodology alongside other postural methods to help performers such as, Alexander Technique and Grindea Technique as part of my Master of Arts degree. I was struck by the somatic techniques used in the learning of the FM, and how these sensory awareness skills learned, synthesized with the kinesthetic aspects of instrumental pedagogy/learning. In addition to my professional musical performance, I am a keen amateur golfer; I have found the technique useful in reordering my posture. * Andrew Dunn, Trinity Laban Conservatoire, UK *

Daugiau informacijos

Offering both a scholarly and practical engagement, this edited collection looks at the benefits of applying the Feldenkrais Method to the artistic practices of dance, music and theatre.
List of Figures
vii
Contributor Biographies ix
Foreword Garet Newell xiv
Acknowledgements xvi
Introduction 1(14)
Robert Sholl
PART I Historical Perspectives on Creative Practice
15(58)
1 Dancing the Soma-Ecstatic: Feldenkrais and the Modernist Body
17(21)
Thomas Kampe
2 Feldenkrais, Freud, Lacan and Gould: How to Love Thyself for Thy Neighbour
38(17)
Robert Sholl
3 Learning through Feeling: How the Ideas of Nikolai Bernstein and Moshe Feldenkrais Apply to Performer Training
55(18)
Dick McCaw
PART II From Science into Creative Practice
73(62)
4 The Work of Dr Moshe Feldenkrais: A New Applied Kinesiology and a Radical Questioning of Training and Technique
75(8)
Maxine Sheets-Johnstone
5 Radical Practice: Practising Performance and Practising Oneself Is the Same Activity
83(20)
Roger Russell
6 The Feldenkrais Method for Musicians: Addressing the Need for Objective Measurements
103(13)
Jillian Beacon
Gilles Comeau
Donald Russell
7 Gaining Insight on the Impact of Feldenkrais Functional Integration in the Context of Piano Playing: Considerations for Measuring Posture and Movement Quality
116(19)
Jillian Beacon
Gilles Comeau
Donald Russell
Part I The Feldenkrais Method and Pianists: A Pilot Study of Objective Measurement of Posture and Movement
116(8)
Part II Discussion and Recommendations for Future Research
124(11)
PART III Studies in Creative Practice
135(98)
8 Mapping Body Awareness onto Piano Performance for Artistic Rejuvenation
137(21)
Alan Fraser
9 Building a Model for Injury Prevention in Music Pedagogy Rooted in Feldenkrais's Philosophy and Methodology for Learning
158(15)
Lisa M. Burrell
10 A Sense of Safety: Polyvagal Theory, the Feldenkrais Method and the Acting Process
173(18)
Victoria Worsley
11 Curing the Acting Habit: The Feldenkrais Method, Actors, Compulsion and the Performing Arts Industry
191(16)
Mark Lacey
12 Tuning the Body: Acting, Dancing and Singing from Rehearsal to Performance
207(13)
Marcia Carr
13 Food for No-Thought... Meandering between a Personal Somatic Practice and Feldenkrais Teaching
220(13)
Sylvie Fortin
Bibliography 233(5)
Index 238
Robert Sholl has published widely on twentieth-century music, including Stravinsky, Berio, Birtwistle, Ferneyhough, Messiaen, Arvo Pärt. He is the editor of Messiaen Studies (with Sander van Maas); Contemporary Music and Spirituality; and is part of a Leverhulmefunded project on The Phantom of the Opera at the Guildhall School of Music and Drama. He has released improvisation to silent film on YouTube and is currently editing volumes on James MacMillan and Messiaen. Robert Scholl is a trained Feldenkrais practitioner.
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