![parts of a western drama parts of a western drama](https://i0.wp.com/poweron.fm/wp-content/uploads/2022/08/2.68370456-50e14e.jpg)
Unfortunately, until recently researchers and thinkers didn’t have a luxury to be inspired by scientific evidences of neurological activity and embodied cognition. The empirically based concept of the embodied mind provides a foundation that explains the effectiveness of approaches to training and rehearsal that consciously link physicality and environment in the expression of meaning” (p. Are the emotions manifested through the body, or is the body producing emotions as integral parts of its purpose? Following the same logic, the acting traditions argue: can the physical work stimulate imagination to the point that the actor lives through the emotions of the character, or does the psychological approach to acting guarantee deep understanding and therefore meaningful expression? Kemp (2008) proposes that “the two approaches are in fact representative of positions on a continuum, rather than being mutually exclusive or necessarily oppositional.
![parts of a western drama parts of a western drama](https://www.filmovix.net/wp-content/uploads/2013/09/bips.jpg)
How does theatrical performance/activity conceptually relate to the cognitive science and affective neuroscience? The main things that both disciplines share is the idea of duality of the human nature. Acting, on the other hand, does not explain the body-mind-soul relationship, but rather provides the richest material for exploration of and experimentation with human emotions. In his dissertation, Kemp (2008) states that cognitive science acknowledges the central role of the body and enables a better understanding of understand the relationship between thought and expression (p. All the verbs I just listed, along with many more, have as their sources the essential parts of what constitutes a human: body, mind, emotion, and behavior. Human beings embody, express, process, inhibit, function, act, feel. I am also exploring the concept of emotional prosody and the audial/musical/vocal basis of human emotions. I am hoping to demystify emotions using a scientific approach to the most ephemeral aspect of human behavior and nature. I am interested in physical and psychological manifestations of artificially/purposefully stimulated emotive processing. In the Performing Arts, it is quite the opposite: emotions are provoked in performers, who then (ideally) receive reactions and empathy from the audience. They are labeled as spontaneous, they don’t call before they show up at someone’s door, they just happen.
![parts of a western drama parts of a western drama](https://image1.slideserve.com/2110125/greek-theater-l.jpg)
In real life, emotions are often uncontrolled.
#PARTS OF A WESTERN DRAMA FULL#
Such activity as Acting, for example, involves mostly artificially stimulated emotions, and yet it requires full commitment and therefore its emotional processes are often labeled genuine, even though they are motivated by the need to perform. In the domain of Affective Neuroscience and Cognitive Psychology, it seems that the focus of most researchers stays on the processes involved in the genuine human emotional activity. In my blog, I am intending to explore the neurological nature of theatrical performance.