Toward a general theory of acting : cognitive science and performance /

Cognitive science is gaining traction as a model to inform performance theory and process (as evidenced by, for example, Bruce McConachie's Engaging Audiences, CH, May'09, 46-4940). In this addition to the "Cognitive Studies in Literature and Performance" series, Lutterbie (Stony Brook Univ.) deconstructs the craft of acting using dynamic systems theory. DST provides evidence that supports a causal relationship between cognitive science and acting practice. In part 1, the author describes acting techniques and performance theories favored in contemporary Western theater, e.g., those of Stanislavski, Brecht, Strasberg, Meisner, Grotowski. Each of these artists provided actors with a method to access emotional behavior, physical action, and character motivation. DST unifies the actor's mind/body connection or "perturbations" by applying cognitive and neuroscientific constructs to understand how the actor mimics human behavior and presents emotional authenticity in performance. Lutterbie also examines the actor's tools (movement, language, gesture, memory, attention) and discusses how each can be supported by cognitive approaches. In part 2, he delves into technique and improvisation as preparatory explorations, establishing a compelling argument for studying cognitive science to support performance theory. His assertion that the actor is a dynamic system from which craft and art emanate convinces. Summing Up: Recommended. Graduate students through professionals. J. Artman Chapman University