<i>In other gestures</i>: Multimodal iteration in cello master classes

Hsu, Hui-Chieh; Brône, Geert; Feyaerts, Kurt

doi:10.1515/lingvan-2020-0086

Cited by 4 publications

(2 citation statements)

References 43 publications

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“…In addition to instructional framings provided locally, common ground (concerning occupational practices, the script text, etc.) and the interactional history concerning previous agreements about the performance play a crucial role (on iterativity in rehearsals see Hazel, 2018;Hsu et al, 2021b;Löfgren and Hofstetter, 2021; on the emergence of common ground over interactional histories in rehearsals see Deppermann and Schmidt, 2021;Schmidt and Deppermann, in press).…”

Section: How Language Features In Embodied Demonstrationsmentioning

confidence: 99%

Showing and telling—How directors combine embodied demonstrations and verbal descriptions to instruct in theater rehearsals

Schmidt

Deppermann

2023

Front. Commun.

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In theater as a bodily-spatial art form, much emphasis is placed on the way actors perform movements in space as an important multimodal resource for creating meaning. In theater rehearsals, movements are created in series of directors' instructions and actors' implementations. Directors' instructions on how to conduct a movement often draw on embodied demonstrations in contrast to verbal descriptions. For instance, to instruct an actress to act like a school girl a director can use depictive (he demonstrates the expected behavior) instead of descriptive (“can you act like a school girl”) means. Drawing on a corpus of 400 h video recordings of rehearsal interactions in three German professional theater productions, from which we selected 265 cases, we examine ways to instruct movement-based actions in theater rehearsals. Using a multimodally extended ethnomethodological-conversation analytical approach, we focus on the multimodal details that constitute demonstrations as complex action types. For the present article, we have chosen nine instances, through which we aim to illuminate (1) The difference in using embodied demonstrations versus verbal descriptions to instruct; (2) typical ways directors combine verbal descriptions with embodied demonstrations in their instructions. First, we ask what constitutes a demonstration and what it achieves in comparison to verbal descriptions. Using a typical case, we illustrate four characteristics of demonstrations that all of the cases we studied share. Demonstrations (1) are embedded in instructional activities; (2) show and do not tell; (3) are responded to by emulating what was shown; (4) are rhetorically shaped to convey the instruction's focus. However, none of the 265 demonstrations we investigated were produced without verbal descriptions. In a second step we therefore ask in which typical ways verbal descriptions accompany embodied demonstrations when directors instruct actors how to play a scene. We distinguish four basic types. Verbal descriptions can be used (1) to build the demonstration itself; (2) to delineate a demonstration verbally within an instruction; (3) to indicate positive (what should be done) and negative (what should be avoided) versions of demonstrations; (4) as an independent means to describe the instruction's focus in addition to the demonstration. Our study contributes to research on how embodied resources are used to create meaning and how they combine with and depend on verbal resources.

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Section: How Language Features In Embodied Demonstrationsmentioning

confidence: 99%

Showing and telling—How directors combine embodied demonstrations and verbal descriptions to instruct in theater rehearsals

Schmidt

Deppermann

2023

Front. Commun.

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“…We will see that this can also lead to negotiation processes between instructor and performer and have an impact on the collective understanding of music. Hsu et al (2021) analyzed parallel syntactic structures in speaking and depicting in cello master classes, whereas Szczepek Reed (2021) focused on the role of the body in singing instruction in music master classes. Haviland (2007Haviland ( , 2011 also showed how professional musicians alternate verbal comments and suggestions with physical expressions (i.e., embodied demonstrations such as playing the instrument, miming, singing, gesturing, and manipulating the score, the students' bodies, and their instruments) to give music students feedback on their musical performance.…”

Section: Multimodality In Music Pedagogymentioning

confidence: 99%

“Abbiamo detto con te no che tu hai ta da di da dim (Moves Right Hand on the Beat)”—The Interplay of Semiotic Modes in Chamber Music Lessons Under a Multimodal and Interactional Perspective

Messner

2022

Front. Commun.

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This study analyzes the interplay of semiotic modes employed by a teacher and music students in a chamber music lesson for instructing, learning, and discussing. In particular, it describes how specific higher-level actions are accomplished through the mutual contextualization of talk and further audible and visible semiotic resources, such as gesture, gaze, material objects, vocalizing, and music. The focus lies on modal complexity, i.e., how different modes cohere to build action, and on modal intensity, i.e., the importance of specific modes related to their useful modal reaches. This study also attends to the linking and coherent coordination of interactional turns by the participants to achieve a mutual understanding of musical ideas and concepts. The rich multimodal texture of instructional, negotiation, and discussion actions in chamber music lessons stresses the role of multimodality and multimodal coherence in investigating music and pedagogy from an interactional perspective.

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On the Emergence of Routines: An Interactional Micro-history of Rehearsing a Scene

Schmidt

Deppermann

2023

Hum Stud

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In workplace settings, skilled participants cooperate on the basis of shared routines in smooth and often implicit ways. Our study shows how interactional histories provide the basis for routine coordination. We draw on theater rehearsals as a perspicuous setting for tracking interactional histories. In theater rehearsals, the process of building performing routines is in focus. Our study builds on collections of consecutive performances of the same instructional task coming from a corpus of video-recordings of 30 h of theater rehearsals of professional actors in German. Over time, instructions and their implementations are routinely coordinated by virtue of accumulated shared interactional experience: Instructions become shorter, the timing of responses becomes increasingly compacted and long negotiations are reduced to a two-part sequence of instruction and implementation. Overall, a routine of how to perform the scene emerges. Over interactional histories, patterns of projection of next actions emanating from instructions become reliable and can be used by respondents as sources for anticipating and performing relevant next actions. The study contributes to our understanding of how shared knowledge and routines accumulate over shared interactional experiences in publicly performed and reciprocally perceived ways and how this impinges on the efficiency of joint action.

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In other gestures: Multimodal iteration in cello master classes

Cited by 4 publications

References 43 publications

Showing and telling—How directors combine embodied demonstrations and verbal descriptions to instruct in theater rehearsals

Showing and telling—How directors combine embodied demonstrations and verbal descriptions to instruct in theater rehearsals

“Abbiamo detto con te no che tu hai ta da di da dim (Moves Right Hand on the Beat)”—The Interplay of Semiotic Modes in Chamber Music Lessons Under a Multimodal and Interactional Perspective

On the Emergence of Routines: An Interactional Micro-history of Rehearsing a Scene

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