Open Daily: 10am - 10pm | Alley door pickup 10am - 7pm 3038 Hennepin Ave Minneapolis, MN
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  • Open Daily: 10am - 10pm
    Alley-side Pickup: 10am - 7pm

    3038 Hennepin Ave Minneapolis, MN
    612-822-4611

Open Daily: 10am - 10pm | Alley-side Pickup: 10am - 7pm
3038 Hennepin Ave Minneapolis, MN
612-822-4611
Reinventing Drama: Acting, Iconicity, Performance

Reinventing Drama: Acting, Iconicity, Performance

Shapiro, Bruce

Hardcover

Series: Contributions in Drama and Theatre Studies, Book 90

Acting & AuditioningGeneral Drama

ISBN10: 0313309388
ISBN13: 9780313309380
Publisher: Praeger
Published: Apr 30 1999
Pages: 248
Weight: 1.25
Height: 0.93 Width: 6.38 Depth: 9.52
Language: English

Dramatic performance involves an intricate process of rehearsal based upon imagery inherent in the dramatic text. A playwright first invents a drama out of mental imagery. The dramatic text presents the drama as a range of verbal imagery. During rehearsal, the actors cultivate this verbal imagery within themselves. The performance triggers this cultivated mental imagery, thereby enabling the actors to reinvent the drama in the presence of an audience. This interplay of dramatic imagery constitutes the heart of the process of iconicity. The premise of iconicity is that in dramatic performance actors use the same neural architecture that people use in their daily lives to execute events. The core of this neural architecture is the brain's capacity for internally generating, reduplicating, storing, and triggering imagery. The process of iconicity draws on the actor's use of this mental capacity. This book explores the principles of iconicity and develops them as a process for acting and staging dramatic performances.

This book draws together critical and literary theories and neuropsychology to provide a new artistic process for dramatic performance called iconicity. The first part of the book provides a theoretical perspective on the principles of iconicity. Included are discussions of the nature of dramatic performance, the ideology and process of acting, and the importance of emotions to drama. This initial exploraton of iconicity sometimes refers to practice; however, the ideas presented in the first part of the book largely provide a foundation for the second part, which is more practically oriented. The second part gives close attention to the various components of the iconicity process. It explains dramatic structure and identifies and defines the four strands of iconicity: events, dialogue, interactions, and performance. Throughout the volume, numerous plays are used to provide examples of how the iconicity process works.

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