{"title":"The felt sense of performance: affective meaning at the edge of words","authors":"Ana Cristina Nunes Pais","doi":"10.1080/14682761.2021.1997441","DOIUrl":null,"url":null,"abstract":"ABSTRACT Created by Eugene Gendlin and Mary Hendricks, Thinking at the Edge (TAE) enables the articulation of meaning implicit in embodied experience, which in turn discloses the affective meaning of words (or topics), thus, empowering one to speak and think creatively from one’s felt knowledge. In this article, I present and analyse three TAE processes undertaken by Portuguese native speaker performers – Sónia Baptista, Maria Duarte, and Andrea Maciel – who have chosen to explore and expand the terms ‘performing’, ‘presence’, and ‘play’, respectively. Considering these terms from the felt sense of each performer’s culturally and aesthetically situated experience opens new ground to build a collaborative and affectively embodied vocabulary that can illuminate different approaches or lines of enquiry into some of the core concepts of theatre practice and performance studies. Based on these three cases, I argue that TAE is a stimulating tool to access the felt sense of live performance, thus contributing to the development of research on affect from a meaningful personal standpoint.","PeriodicalId":42067,"journal":{"name":"Studies in Theatre and Performance","volume":null,"pages":null},"PeriodicalIF":0.3000,"publicationDate":"2021-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Studies in Theatre and Performance","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/14682761.2021.1997441","RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"THEATER","Score":null,"Total":0}
引用次数: 0
Abstract
ABSTRACT Created by Eugene Gendlin and Mary Hendricks, Thinking at the Edge (TAE) enables the articulation of meaning implicit in embodied experience, which in turn discloses the affective meaning of words (or topics), thus, empowering one to speak and think creatively from one’s felt knowledge. In this article, I present and analyse three TAE processes undertaken by Portuguese native speaker performers – Sónia Baptista, Maria Duarte, and Andrea Maciel – who have chosen to explore and expand the terms ‘performing’, ‘presence’, and ‘play’, respectively. Considering these terms from the felt sense of each performer’s culturally and aesthetically situated experience opens new ground to build a collaborative and affectively embodied vocabulary that can illuminate different approaches or lines of enquiry into some of the core concepts of theatre practice and performance studies. Based on these three cases, I argue that TAE is a stimulating tool to access the felt sense of live performance, thus contributing to the development of research on affect from a meaningful personal standpoint.
尤金·詹德林(Eugene Gendlin)和玛丽·亨德里克斯(Mary Hendricks)提出了“边缘思考”(Thinking at the Edge, TAE),它使隐含在具身经验中的意义得以表达,从而揭示词语(或话题)的情感意义,从而使人们能够根据自己的感受知识创造性地说话和思考。在这篇文章中,我提出并分析了三个以葡萄牙语为母语的表演者——Sónia Baptista、Maria Duarte和Andrea Maciel——所进行的TAE过程,他们分别探索和扩展了“表演”、“存在”和“发挥”这三个术语。从每个表演者的文化和审美体验的感觉来考虑这些术语,为建立一个协作和情感体现的词汇开辟了新的领域,可以阐明对戏剧实践和表演研究的一些核心概念的不同方法或研究路线。基于这三个案例,我认为TAE是一种获得现场表演感觉的刺激工具,从而有助于从有意义的个人角度研究情感的发展。