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Physophisipical Training

Physophisipical Training

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Published by Jaime Soriano

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Published by: Jaime Soriano on Sep 27, 2009
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10/31/2014

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Psychophysical Training and the Developmentof Conscious Awareness in the Actor
Kate Kalin
Thesis submitted in partial fulfilment of the requirements for the degree of Masters in Drama and Theatre Studies National University of Ireland, Cork Board of Drama and Theatre Studies,Faculty of ArtsOctober 2007Chair of DTS Board: Dr. Ger FitzgibbonSupervisor: Ms. Bernadette Cronin1
 
Table of Contents 
Page
Acknowledgments
i
Table of Figures
ii
DVD Menu
iv
Introduction
1
 Chapter 1: Literature Review
6
1.1
Introduction 7
1.2
'Total Theatre' 7
1.3
'Translumination' 8
1.4
Connections9
1.5
Conscious Awareness11
1.6
Conclusion12
Chapter 2: Research Design and Methodology
14
2.1
Introduction15
2.2
The Research Model15
2.3
The Research Project Design16
2.4
The Research Techniques and Devices18
2.5
Analysis and Conclusion 20
Chapter 3: Educational-Kinesiology as a Practice Model of 
21
 Psychophysical Training3.1
Introduction22
3.2
Context: TSPA philosophy and methodology
 
222
 
3.3
What is Educational Kinesiology (Edu-K)?24
3.4
Questionnaires 25
3.5
Workshop One: The Use of PACE as a Performance Warm-Up26
3.5.1
Juliets and Romeos Before Edu-K26
3.5.2
PACE28
3.5.3
Juliets and Romeos After Edu-K 29
3.5.4
Written Feedback30
3.6
Workshop Two:
 
Development of Audial and Visual Awareness 31 Through Edu-K 
 
Exercises
 3.6.1
Walk Don't Walk32
3.6.2
Words Off the Floor34
3.6.3
Humming Through Hands36
3.6.4
Written Feedback37
 3.7
Workshop Three: Repattering Through Edu-K 39
3.7.1
Spoon River Anthology Monologues Before Edu-K39
3.7.2
Whole Brain Balance and DLR40
3.7.3
Monologues After Edu-K42
3.7.4
Written Feedback42
3.8
Workshop Four: Edu-K as a Tool for Developing Ensemble 43 Consciousness
3.8.1
Group Improvisations Before Edu-K 44
3.8.2
Group Balance44
3.8.3
Group Improvisations After Edu-K473

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