Michael Chekhov and the embodied imagination: Higher self and non-self

Daboo, Jerri

doi:10.1386/stap.27.3.261_1

Cited by 12 publications

(4 citation statements)

References 2 publications

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“…She is not me but she is not not-me. Just as Daboo (2007: 264 and 271) notes as actors create characters who they ‘both are-and-are-not […] It is both me-and-not-me at the same time’.…”

Section: Methodsmentioning

confidence: 99%

Empathy at play: Embodying posthuman subjectivities in gaming

Wilde

Evans

2017

Convergence: The International Journal of Research into New Med

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In this article, we address the need for a posthuman account of the relationship between the avatar and player. We draw on a particular line of posthumanist theory associated closely with the work of Karen Barad, Rosi Braidotti and N. Katherine Hayles that suggests a constantly permeable, fluid and extended subjectivity, displacing the boundaries between human and other. In doing so, we propose a posthuman concept of empathy in gameplay, and we apply this concept to data from the first author’s 18-month ethnographic field notes of gameplay in the MMORPG World of Warcraft. Exploring these data through our analysis of posthuman empathy, we demonstrate the entanglement of avatar–player, machine–human relationship. We show how empathy allows us to understand this relationship as constantly negotiated and in process, producing visceral reactions in the intra-connected avatar–player subject as well as moments of co-produced in-game action that require ‘affective matching’ between subjective and embodied experiences. We argue that this account of the avatar–player relationship extends research in game culture, providing a horizontal, non-hierarchical discussion of its most necessary interaction.

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Section: Methodsmentioning

confidence: 99%

Empathy at play: Embodying posthuman subjectivities in gaming

Wilde

Evans

2017

Convergence: The International Journal of Research into New Med

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“…Chekhov's acting exercises are aimed at helping the actor access their creativity. As I have written elsewhere (Daboo 2007(Daboo , 2015, his exercises stress the importance of a strong concentration for the actor, particularly in relation to the processes of imagination and visualisation. In the statement below, the 'object' can refer to the image of a character, or a colour, shape, smell, or physical object:…”

Section: Jerri Daboomentioning

confidence: 98%

The Routledge Companion to Performance Philosophy

Maoilearca¹,

Lagaay

2020

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The Routledge Companion to Performance Philosophy is a volume of especially commissioned critical essays, conversations, and collaborative, creative and performative writing mapping the key contexts, debates, methods, discourses and practices in this developing field.Firstly, the collection offers new insights on the fundamental question of how thinking happens: where, when, how and by whom philosophy is performed. Secondly, it provides a plurality of new accounts of performance and performativity -as the production of ideas, bodies and knowledges -in the arts and beyond. Comprising texts written by international artists, philosophers and scholars from multiple disciplines, the essays engage with questions of how performance thinks and how thought is performed in a wide range of philosophies and performances, from the ancient to the contemporary. Concepts and practices from diverse geographical regions and cultural traditions are analysed to draw conclusions about how performance operates across art, philosophy and everyday life.The collection both contributes to and critiques the philosophy of music, dance, theatre and performance, exploring the idea of a philosophy from the arts. It is crucial reading material for those interested in the hierarchy of the relationship between philosophy and the arts, advancing debates on philosophical method, and the relation between Performance and Philosophy more broadly.

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“…development of a flexibility in the individual's sense of self (Barba, 1999;Callery, 2001;Daboo, 2007aDaboo, , 2007bHodge, 2000;Schechner & Wolford, 1997;Turner, 2004;Worley, 2001). 2 During the past century, the development of practices of psychophysical actor training in the Occident has resulted in various investigations regarding embodiment.…”

Section: Psychophysical Actor Trainingmentioning

confidence: 99%

“…The relevance of this body of work, drawn from theatrical practices, as a foundation for the exploration of dreams is motivated by the way in which psychophysical actor training is related to the understanding and possible development of a flexibility in the individual’s sense of self (Barba, 1999; Callery, 2001; Daboo, 2007a, 2007b; Hodge, 2000; Schechner & Wolford, 1997; Turner, 2004; Worley, 2001). 2…”

Section: Psychophysical Actor Trainingmentioning

confidence: 99%

Group dream work incorporating a psychophysical embodied approach.

Silva¹,

Sandström²

2020

Dreaming

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This article presents an initial account of a 6-month process with a group of undergraduate students, in an educational environment, which explored the possibilities of archetypal group dream work and the incorporation of embodied activities to explore dream imagery. This work incorporated activities based in psychophysical actor training and aligns itself to an archetypal post-Jungian perspective for dream work. We suggest here that the model developed for this inquiry appears to have positive effects for the dreamer and for other participants. The main benefit of the practice is its capacity to evade ego's defenses and generate psychic movement in the dreamer. This model for group dream work still needs to be tested in a clinical environment, which is the recommendation for further research.

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Michael Chekhov and the embodied imagination: Higher self and non-self

Cited by 12 publications

References 2 publications

Empathy at play: Embodying posthuman subjectivities in gaming

Empathy at play: Embodying posthuman subjectivities in gaming

The Routledge Companion to Performance Philosophy

Group dream work incorporating a psychophysical embodied approach.

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