By John Matthews
We educate simply because we're human and we turn into human simply because we teach.
This is the astonishing and unique end of Anatomy of functionality Training, during which John Matthews indicates how education is a really human reaction to the issues of getting a physique and dwelling on this planet.
Using illustrative case-studies perform, every one bankruptcy addresses a selected physique half, supplying a self-contained dialogue of its symbolic and sensible importance within the inventive, and advertisement, actions of educating. those anatomical case-studies are cross-referenced with different disciplines (such as activity, excessive diving, deep diving and artisan craft) to extra extend our realizing of functionality. Stand-alone chapters, perfect for reference, construct in the direction of an total end that the uniquely human perform of educating is rising as a brand new and pervasive ideology globally.
Ideal for readers looking to comprehend the connection the physique has with the theatre and coaching, or for academics trying to find a brand new, cutting edge method of functionality, Anatomy of functionality Training is an obtainable, unique contribution to the philosophy of educating for performance.
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Additional info for Anatomy of Performance Training
This is what Raymond Carver was meditating on when he wrote about the soul. 74 In addition to plurality and a significatory capacity, I follow an old line of thinking in this book, that potentiality is also integral to the human condition. 75 Our experience of being in the world is, as Arendt pointed out, a prerequisite of our existence and thus part of our, inherently plural, human condition. Being in the world doesn’t only mean being amongst other people, it also means being amongst stuff – objects and things – and this is also an important aspect of our human condition.
Her book Theatre Games for Rehearsal details countless exercises involving objects, some real, as in the case of an improvization task involving a table laid out with balloons, feathers, sand bags, egg beaters, rubber bands and party toys, from which actors choose ‘spontaneously, the moment the player needs it, to show a feeling or emotion’19 and some imaginary, as in the case of the ‘space objects’ which must be handled (mimed) by players during scene improvization. 20 The use of real-world things and objects by some mid-to-late twentieth-century practitioners might be seen as an effort to connect (or result of connecting) theatrical training with industrial work and artisan crafts, giving it a sense of tradition and purposefulness and realigning the class distinctions associated with art.
The philosophy of training that I advanced in Training for Performance is, in the chapter HEART in this book, shown to work as rehabilitation through the body of the deficiency inherent in the human condition, which has a renewed urgency in all areas of our lives today. HEART, HAND, FOOT, MOUTH and EAR each provide a differently attuned meditation on practical, symbolic and metaphorical aspects of training. This anatomy of the body maps onto the anatomy of training – consistent of vocation, obedience, formation and automatization – and my anatomical approach in this book enables me to delineate the problems of having, or being, a body-in-the-world today.
Anatomy of Performance Training by John Matthews