Feldenkrais Method in Creative Practice
portes grátis
Feldenkrais Method in Creative Practice
Dance, Music and Theatre
Sholl, Robert
Bloomsbury Publishing PLC
09/2022
256
Mole
Inglês
9781350203495
15 a 20 dias
Descrição não disponível.
TABLE OF CONTENTS
List of Figures
List of Contributors
Foreword by Garet Newell
Acknowledgements
Introduction by Robert Sholl, University of West London, UK
PART 1: Historical Perspectives on Creative Practice
Chapter 1: Feldenkrais and the Modernist Body - Thomas Kampe, Bath Spa University, UK
Chapter 2: Feldenkrais, Freud, Lacan, and Gould: how to love thyself not as thy neighbour - Robert Sholl, Royal Academy of Music, UK
Chapter 3: Learning Through Feeling: How the Ideas of Nikolai Bernstein and Moshe Feldenkrais Apply to Performer Training - Dick McCaw, Royal Holloway, UK
PART 2: From Science into Creative Practice
Chapter 4: The Work of Dr Mosche Feldenkrais: A New Applied Kinesiology and a Radical Questioning of Training and Technique - Maxine Sheets-Johnstone, University of Oregon, USA
Chapter 5: Radical Practice: Practising Performance and Practising Oneself is the Same Activity - Roger Russell, Feldenkraiszentrum, Heidelberg, Germany
Chapter 6: Gaining insight on the impact of Feldenkrais Functional Integration in the context of piano playing: Considerations for measuring posture and movement quality: Part I: The Feldenkrais Method and Pianists: A pilot study of objective measurement of posture and movement - Jillian Beacon, University of Ottawa, Canada, Gilles Comeau, University of Ottawa, Canada and Donald Russell, Carleton University, Canada
Chapter 7: Part II: Considerations for measuring posture and movement quality - Jillian Beacon, University of Ottawa, Canada, Gilles Comeau, University of Ottawa, Canada and Donald Russell, Carleton University, Canada
PART 3: Studies in Creative Practice
Chapter 8: Mapping Body Awareness onto Piano Performance for Artistic Rejuvenation - Alan Fraser, Alan Fraser Piano Institute, France
Chapter 9: Building a Model for Injury Prevention in Music Pedagogy Rooted in Feldenkrais's Philosophy and Methodology for Learning - Lisa Burrell, Lone Star College, Houston, Texas, USA
Chapter 10: A Sense of Safety: Polyvagal Theory, The Feldenkrais Method and the Acting Process - Victoria Worsley, Feldenkrais Guild, UK
Chapter 11: Curing the Acting Habit - The Feldenkrais Method, Actors, compulsion, and the performing-arts industry - Mark Lacey, Independent scholar, UK
Chapter 12: Tuning the Body: dancing and singing from rehearsal to performance - Marcia Carr, Independent scholar, UK
Chapter 13: Food for no-thought ... meandering between a personal somatic practice and Feldenkrais teaching - Sylvie Forth, professor at the Dance Department of University du Quebec a Montreal, Canada
Bibliography
Index
List of Figures
List of Contributors
Foreword by Garet Newell
Acknowledgements
Introduction by Robert Sholl, University of West London, UK
PART 1: Historical Perspectives on Creative Practice
Chapter 1: Feldenkrais and the Modernist Body - Thomas Kampe, Bath Spa University, UK
Chapter 2: Feldenkrais, Freud, Lacan, and Gould: how to love thyself not as thy neighbour - Robert Sholl, Royal Academy of Music, UK
Chapter 3: Learning Through Feeling: How the Ideas of Nikolai Bernstein and Moshe Feldenkrais Apply to Performer Training - Dick McCaw, Royal Holloway, UK
PART 2: From Science into Creative Practice
Chapter 4: The Work of Dr Mosche Feldenkrais: A New Applied Kinesiology and a Radical Questioning of Training and Technique - Maxine Sheets-Johnstone, University of Oregon, USA
Chapter 5: Radical Practice: Practising Performance and Practising Oneself is the Same Activity - Roger Russell, Feldenkraiszentrum, Heidelberg, Germany
Chapter 6: Gaining insight on the impact of Feldenkrais Functional Integration in the context of piano playing: Considerations for measuring posture and movement quality: Part I: The Feldenkrais Method and Pianists: A pilot study of objective measurement of posture and movement - Jillian Beacon, University of Ottawa, Canada, Gilles Comeau, University of Ottawa, Canada and Donald Russell, Carleton University, Canada
Chapter 7: Part II: Considerations for measuring posture and movement quality - Jillian Beacon, University of Ottawa, Canada, Gilles Comeau, University of Ottawa, Canada and Donald Russell, Carleton University, Canada
PART 3: Studies in Creative Practice
Chapter 8: Mapping Body Awareness onto Piano Performance for Artistic Rejuvenation - Alan Fraser, Alan Fraser Piano Institute, France
Chapter 9: Building a Model for Injury Prevention in Music Pedagogy Rooted in Feldenkrais's Philosophy and Methodology for Learning - Lisa Burrell, Lone Star College, Houston, Texas, USA
Chapter 10: A Sense of Safety: Polyvagal Theory, The Feldenkrais Method and the Acting Process - Victoria Worsley, Feldenkrais Guild, UK
Chapter 11: Curing the Acting Habit - The Feldenkrais Method, Actors, compulsion, and the performing-arts industry - Mark Lacey, Independent scholar, UK
Chapter 12: Tuning the Body: dancing and singing from rehearsal to performance - Marcia Carr, Independent scholar, UK
Chapter 13: Food for no-thought ... meandering between a personal somatic practice and Feldenkrais teaching - Sylvie Forth, professor at the Dance Department of University du Quebec a Montreal, Canada
Bibliography
Index
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Moshe Feldenkrais; Feldenkrais Method; performance; dance; theatre studies; creative practice
TABLE OF CONTENTS
List of Figures
List of Contributors
Foreword by Garet Newell
Acknowledgements
Introduction by Robert Sholl, University of West London, UK
PART 1: Historical Perspectives on Creative Practice
Chapter 1: Feldenkrais and the Modernist Body - Thomas Kampe, Bath Spa University, UK
Chapter 2: Feldenkrais, Freud, Lacan, and Gould: how to love thyself not as thy neighbour - Robert Sholl, Royal Academy of Music, UK
Chapter 3: Learning Through Feeling: How the Ideas of Nikolai Bernstein and Moshe Feldenkrais Apply to Performer Training - Dick McCaw, Royal Holloway, UK
PART 2: From Science into Creative Practice
Chapter 4: The Work of Dr Mosche Feldenkrais: A New Applied Kinesiology and a Radical Questioning of Training and Technique - Maxine Sheets-Johnstone, University of Oregon, USA
Chapter 5: Radical Practice: Practising Performance and Practising Oneself is the Same Activity - Roger Russell, Feldenkraiszentrum, Heidelberg, Germany
Chapter 6: Gaining insight on the impact of Feldenkrais Functional Integration in the context of piano playing: Considerations for measuring posture and movement quality: Part I: The Feldenkrais Method and Pianists: A pilot study of objective measurement of posture and movement - Jillian Beacon, University of Ottawa, Canada, Gilles Comeau, University of Ottawa, Canada and Donald Russell, Carleton University, Canada
Chapter 7: Part II: Considerations for measuring posture and movement quality - Jillian Beacon, University of Ottawa, Canada, Gilles Comeau, University of Ottawa, Canada and Donald Russell, Carleton University, Canada
PART 3: Studies in Creative Practice
Chapter 8: Mapping Body Awareness onto Piano Performance for Artistic Rejuvenation - Alan Fraser, Alan Fraser Piano Institute, France
Chapter 9: Building a Model for Injury Prevention in Music Pedagogy Rooted in Feldenkrais's Philosophy and Methodology for Learning - Lisa Burrell, Lone Star College, Houston, Texas, USA
Chapter 10: A Sense of Safety: Polyvagal Theory, The Feldenkrais Method and the Acting Process - Victoria Worsley, Feldenkrais Guild, UK
Chapter 11: Curing the Acting Habit - The Feldenkrais Method, Actors, compulsion, and the performing-arts industry - Mark Lacey, Independent scholar, UK
Chapter 12: Tuning the Body: dancing and singing from rehearsal to performance - Marcia Carr, Independent scholar, UK
Chapter 13: Food for no-thought ... meandering between a personal somatic practice and Feldenkrais teaching - Sylvie Forth, professor at the Dance Department of University du Quebec a Montreal, Canada
Bibliography
Index
List of Figures
List of Contributors
Foreword by Garet Newell
Acknowledgements
Introduction by Robert Sholl, University of West London, UK
PART 1: Historical Perspectives on Creative Practice
Chapter 1: Feldenkrais and the Modernist Body - Thomas Kampe, Bath Spa University, UK
Chapter 2: Feldenkrais, Freud, Lacan, and Gould: how to love thyself not as thy neighbour - Robert Sholl, Royal Academy of Music, UK
Chapter 3: Learning Through Feeling: How the Ideas of Nikolai Bernstein and Moshe Feldenkrais Apply to Performer Training - Dick McCaw, Royal Holloway, UK
PART 2: From Science into Creative Practice
Chapter 4: The Work of Dr Mosche Feldenkrais: A New Applied Kinesiology and a Radical Questioning of Training and Technique - Maxine Sheets-Johnstone, University of Oregon, USA
Chapter 5: Radical Practice: Practising Performance and Practising Oneself is the Same Activity - Roger Russell, Feldenkraiszentrum, Heidelberg, Germany
Chapter 6: Gaining insight on the impact of Feldenkrais Functional Integration in the context of piano playing: Considerations for measuring posture and movement quality: Part I: The Feldenkrais Method and Pianists: A pilot study of objective measurement of posture and movement - Jillian Beacon, University of Ottawa, Canada, Gilles Comeau, University of Ottawa, Canada and Donald Russell, Carleton University, Canada
Chapter 7: Part II: Considerations for measuring posture and movement quality - Jillian Beacon, University of Ottawa, Canada, Gilles Comeau, University of Ottawa, Canada and Donald Russell, Carleton University, Canada
PART 3: Studies in Creative Practice
Chapter 8: Mapping Body Awareness onto Piano Performance for Artistic Rejuvenation - Alan Fraser, Alan Fraser Piano Institute, France
Chapter 9: Building a Model for Injury Prevention in Music Pedagogy Rooted in Feldenkrais's Philosophy and Methodology for Learning - Lisa Burrell, Lone Star College, Houston, Texas, USA
Chapter 10: A Sense of Safety: Polyvagal Theory, The Feldenkrais Method and the Acting Process - Victoria Worsley, Feldenkrais Guild, UK
Chapter 11: Curing the Acting Habit - The Feldenkrais Method, Actors, compulsion, and the performing-arts industry - Mark Lacey, Independent scholar, UK
Chapter 12: Tuning the Body: dancing and singing from rehearsal to performance - Marcia Carr, Independent scholar, UK
Chapter 13: Food for no-thought ... meandering between a personal somatic practice and Feldenkrais teaching - Sylvie Forth, professor at the Dance Department of University du Quebec a Montreal, Canada
Bibliography
Index
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