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Editors' Preface Introduction Notes Editors’ Preface 1. Carey, Susan. The Origin of Concepts. Oxford: Oxford University Press, 2009, 4. 2. See Zunshine, Lisa. “What is Cognitive Cultural Studies?” Introduction to Cognitive Cultural Studies. Ed. Lisa Zunshine. Baltimore: Johns Hopkins University Press, 1. Introduction 1. Deborah Mayo, Interview with John Lutterbie, Stony Brook University, tape recording, July 3, 2003. 2. Ibid. 3. Margarita Espada, Interview with John Lutterbie, Stony Brook University, tape recording, June 30, 2003. 4. Ibid. 5. Ibid. 6. Margarita Espada, Interview with John Lutterbie, Stony Brook University, tape recording, February 4, 2002. 7. I bid. 8. Deborah Mayo, Interview with John Lutterbie, Stony Brook University, tape recording, December 5, 2001. 9. Ibid. 10. Ibid. 11. Deborah Mayo, Interview with John Lutterbie, Stony Brook University, tape recording, November 7, 2001. 12. See Patrice Pavis, Theatre at the Crossroads of Culture (London and New York: Routledge, 1991), 178–209. 13. Hubert L. Dreyfus and Stuart E. Dreyfus. Mind Over Machine: The Power of Human Intuition and Expertise in the Era of the Computer (New York: Free Press, 1986), 50. 14. Ibid., 30. 15. Ibid., 30–31. 16. Neil Young, “Harvest Moon.” http://www.lyricsfreak.com/n /neil+young/harvest+moon_20099104.html. March 14, 2011 234 NOTES 1 The Language of Acting 1. I saw an Irish dance performance in which a fiddler was given a standing ovation despite the obvious fact that the instrument had no strings . 2. See Helga Noice and Tony Noice. “Two Approaches to Learning a Theatrical Script.” Memory. 4, no. 1 (1996): 1–17; and Helga Noice and Tony Noice. “Long Term Retention of Theatrical Roles.” Memory. 7, no. 3 (1997): 357–382. 3. Stuart Jefferies. “Inside the Mind of an Actor (Literally).” The Guardian. www.guardian.co.uk/science/2009/nov/24/fiona-shaw -neuroscience. November 24, 2009 4. Maxine Sheets-Johnstone, personal communication with author, April 17, 2007. 5. Maurice Merleau-Ponty. The Visible and the Invisible (Evanston: Northwestern University Press, 1968), 148–149. 6. Many of the works here mentioned fit into more than one of the divi- sions, and in some cases people might argue for a completely different descriptor for a given work. The classification of these playwrights is not meant to be definitive, but simply descriptive of the category of nonrealism. 7. H a n s-T h ie s L eh ma n n. Postdramatic Theatre, Trans. Karen Jürs- Munby (London: Routledge, 2006), 27. 8. Esther Thelen and Linda B. Smith. A Dynamic Systems Approach to the Development of Cognition and Action (Cambridge: MIT Press, 1996), 136–140. For more on the way the brain compensates for the loss of certain functions see V.S. Ramachandran and Sandra Blakeslee, Phantoms in the Brain: Probing the Mysteries of the Human Mind (New York: Harper Perennial, 1999). 9. Metaphor, as conceived here, is grounded in the work of George Lakoff and Mark Johnson. They argue that metaphors are based on physical experiences and therefore are embodied. For a full discus- sion of this theory, see Johnson, The Body in the Mind: The Bodily Basis of Meaning, Imagination and Reason (Chicago: The University of Chicago Press, 1987); and Lakoff and Johnson. Philosophy in the Flesh: The Embodied Mind and Its Challenge to Western Philosophy and Metaphors We Live By (New York: Basic Books, 1999). 10. Unfortunately this decision excludes a number of teachers, such as Stella Adler, who did not feel compelled to write about their work. Yet, this choice rests on two factors: (1) Despite the vagaries of ghost writers and translations, the ideas more clearly reflect the practice of the practitioner when he or she is involved in the writing than when theories are written by students once (or more) removed from the tradition’s founder. (2) If these additional theories were considered, their respective premises would not substantively alter the conclu- sions drawn here. NOTES 235 11. Oksana Karneva ed. Kontstantin Stanislavsky: Selected Works (Moscow: Raduga Publishers, 1984), 133–134. 12. Ibid., 134, 166. 13. Ibid., 167-174. 14. Ibid., 169. 15. Konstantin Stanislavski. An Actor’s Work on a Role. Trans. Jean Bendetti (London and New York: Routledge, 2010), 47. 16. Ibid., 57. 17. Ibid., 74. 18. Ibid., 49. 19. Ibid., 54, 74. 20. Ibid., 73. 21. Edward Braun ed. and trans. Meyerhold on Theatre (New York: Hill and Wang, 1969), 52. 22. Ibid., 198. 23. Ibid., 63, 56. 24. Ibid., 52. 25. Ibid., 56. 26. Ibid., 55. 27. Ibid., 54. 28. Ibid., 54. 29. Ibid., 54. 30. Barthes, Roland. Image, Music, Text, Trans. Stephen Hearh (Hammersmith: Fontana Press, 1977), 181. 31. Ibid., 59. 32. Ibid., 60. 33. Ibid., 55 n. 34. Ibid., 198. 35. Ibid., 205. 36. Ibid., 201. 37. Ibid., 201. 38. Ibid., 198–199. 39. Ibid., 198. 40. For examples of the exercises Meyerhold developed to train Biomechanical actors see Meyerhold, Theatre and the Russian Avant- garde, Prod. and directed by Michael Craig (Copernicus Films, 2004). 41. Ibid., 199. 42. Ibid., 199. 43. Ibid., 199. 44. Ibid., 205. 45. Ibid., 205. 46. Bertolt Brecht. Brecht on Theatre. Trans. John Willett (New York: Hill and Wang, 1964), 247. 47. Ibid., 44; emphasis added. 236 NOTES 48. Ibid., 44. 49. Ibid., 122. 50. Ibid., 138. 51. See John Lutterbie, “Gestus and Acting Style in The Good Person of Szechwan: A Case Study.” Gestus. June 1986. 52. Brecht on Theatre, 204. 53. Ibid., 196. 54. Ibid., 277. 55. The photo by Eli Lotar entitled “Abattoir,” can be found in Documents 6 (1929): 328; or on some browsers by searching: “eli lotar” abbatoir images. 56. A recording can be heard at http://www.ubu.com/sound/artaud .html. March 13, 2011. 57. For a discussion of Artaud’s concerns about language, see John Lutterbie. Hearing Voices: Modern Drama and the Problem of Subjectivity (Ann Arbor: University of Michigan Press, 1996), 33–37. 58. Antonin Artaud. The Theatre and Its Double. Trans. Mary Caroline Richards (New York: Grove Press, 1958), 51 59. Ibid., 54. 60. For a discussion of the correspondence between Artaud and Rivière see Hearing Voices. 61. Theatre and Its Double, 53. 62. There has been a critique of Artaud’s reading of Balinese perfor- mance. His cultural biases—his Western predilections and his igno- rance of Balinese culture—lead to serious misunderstandings of the dances he saw. This does not, however, undermine the conclusions he draws about Western acting or the significance of his vision of theatre. See Tsu-Chung Su, “The Occidental Theatre and Its Other: The Use and Abuse of the Oriental Theatre in Antonin Artaud.” NTU Studies in Language and Literature. 1, No. 22 (December 2009): 1–30. 63. The Theatre and Its Double, 61. 64. Ibid., 62. 65. Ibid., 62. 66. Ibid., 133. 67. Ibid., 134. 68. Ibid., 141. 69. Ibid., 138. 70. Thomas Richards. At Work with Grotowski on Physical Actions, (London and New York: Routledge, 1995), 123. 71. Ibid., 130. 72. Jerzy Grotowski. Toward a Poor Theatre. Ed. Eugenio Barba (New York: Simon and Schuster, 1968), 119. 73. Ibid., 16. NOTES 237 74. Ibid., 17. 75. The Theatre and Its Double, 51. 76. Toward a Poor Theatre, 16. 77. Ibid., 17. 78. Ibid., 18. 79. At Work with Grotowski, 122–123. 80. Ibid., 122. 81. Ibid., 125. 82. Ibid., 126. 83. Jacques Lecoq, Jean-Gabriel Carasso and Jean-Claude Lallias. The Moving Body: Teaching Creative Theatre. Trans. David Bradby (London and New York: Routledge, 2001), 46; Jacques Lecoq, Theatre of Movement and Gesture. Ed. David Bradby (London and New York: Routledge, 2006), 5. 84. The Moving Body, 46. 85. Theatre of Movement, 5. 86. The Moving Body, 36. 87. Ibid., 37. 88. Ibid., 39. 89. Ibid., 37. 90. Ibid., 37. 91. Ibid., 46. 92. Ibid., 46. 93. Ibid., 102. 94. Theatre of Movement, 80. 95. Ibid., 86. 96. Ibid., 82. 97. The Moving Body, 59. 98. Ibid., 31. 99. Ibid., 30. 100. Michael Chekhov. To the Actor (New York, Evanston and London: Harper and Row, 1953), 94. 101. Ibid., 63. 102. Ibid., 63. 103. Ibid., 65. 104. Michael Chekhov. On the Technique of Acting (New York: Harper Collins, 1991), 59. 105. To the Actor, 71. 106. Ibid., 65. 107. Ibid., 68. 108. Ibid., 71, 73. 109. Robert H. Hethmon ed. Strasberg at The Actors Studio (New York: Theatre Communications Group, Inc., 1995), 48. 110. Ibid., 200. 111. Ibid., 218. 238 NOTES 112. Ibid., 89. 113. Ibid., 91. 114. Ibid., 34. 115. Ibid., 152. 116. Ibid., 154. 117. Ibid., 67. 118. Ibid., 73. 119. Ibid., 165. 120. Ibid., 42. 121. Ibid., 41. 122. Ibid., 41–42. 123. Ibid., 49. 124. Ibid., 50. 125. Ibid., 53. 126. Ibid., 60–61. 127. Ibid., 37. 128. Ibid., 41. 129. Ibid., 98. 130. Ibid., 77. 131. Ibid., 75. 132. Ibid., 98. 133. Ibid., 53–54. 134. Ibid., 76. 135. For Meisner’s opinions on Strasberg, Stella Adler and the Group Theatre see Sanford Meisner and Dennis Longwell. Sanford Meisner on Acting (New York: Random House, 1987), 182–184. 136. Sanford Meisner on Acting, xviii. 137. Ibid., xviii-xix. 138. Ibid., 115. 139. Ibid., 121. 140. Ibid., 16. 141. Ibid., 141. 142. Ibid., 140. 143. Ibid., 22. 144. Ibid., 34. 145. Ibid., 68–69. 146. Ibid., 102–103. 147. Ibid., 31. 148. Ibid., 36. 149. Ibid., 62. 150. Ibid., 138. 151. Ibid., 138. 152. Ibid., 140. 153. Ibid., 86. 154. Ibid., 28–29. 155. Ibid., 210. NOTES 239 156. Ibid., 97. 157. Ibid., 146. 158. Antonio R. Damasio. The Feeling of What Happens: Body and Emotion in the Making of Consciousness (New York, San Diego and London: Harcourt Brace & Company, 1999), 282. 159. Ibid., 42. 2 Theatre and Dynamic Systems Theory 1.
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