Bringing together scholars and researchers in one volume, this study investigates how the thinking of the Ukrainian-Israeli somatic educationalist Moshe Feldenkrais (1904-84) can benefit and reflect upon the creative practices of dance, music and theatre. Since its inception, the Feldenkrais Method has been associated with artistic practice, growing contiguously with performance, cognitive and embodied practices in dance, music, and theatre studies. It promotes awareness of fine motor action for improved levels of action and skill, as well as healing for those who are injured. For creative…mehr
Bringing together scholars and researchers in one volume, this study investigates how the thinking of the Ukrainian-Israeli somatic educationalist Moshe Feldenkrais (1904-84) can benefit and reflect upon the creative practices of dance, music and theatre. Since its inception, the Feldenkrais Method has been associated with artistic practice, growing contiguously with performance, cognitive and embodied practices in dance, music, and theatre studies. It promotes awareness of fine motor action for improved levels of action and skill, as well as healing for those who are injured. For creative artists, the Feldenkrais Method enables them to refine and improve their work. This book offers historical, scientific and practical perspectives that develop thinking at the heart of the Method and is divided into three sections: Historical Perspectives on Creative Practice, From Science into Creative Practice and Studies in Creative Practice. All the essays provide insights into self-improvement, training, avoiding injury, history and philosophy of artistic practice, links between scientific and artistic thinking and practical thinking, as well as offering some exercises for students and artistic practitioners looking to improve their understanding of their practice. Ultimately, this book offers a rich development of the legacy and the ongoing relevance of the Feldenkrais Method. We are shown how it is not just a way of thinking about somatic health, embodiment and awareness, but a vital enactivist epistemology for contemporary artistic thought and practice.
Robert Sholl has published widely on twentieth-century music, including Stravinsky, Berio, Birtwistle, Ferneyhough, Messiaen, Arvo Pärt. He is the editor of Messiaen Studies (with Sander van Maas); Contemporary Music and Spirituality; and is part of a Leverhulme-funded project on The Phantom of the Opera at the Guildhall School of Music and Drama. He has released improvisation to silent film on YouTube and is currently editing volumes on James MacMillan and Messiaen. Robert Scholl is a trained Feldenkrais practitioner.
Inhaltsangabe
TABLE OF CONTENTS List of Figures List of Contributors Foreword by Garet Newell Acknowledgements Introduction by Robert Sholl University of West London UK PART 1: Historical Perspectives on Creative Practice Chapter 1: Feldenkrais and the Modernist Body - Thomas Kampe Bath Spa University UK Chapter 2: Feldenkrais Freud Lacan and Gould: how to love thyself not as thy neighbour - Robert Sholl Royal Academy of Music UK Chapter 3: Learning Through Feeling: How the Ideas of Nikolai Bernstein and Moshe Feldenkrais Apply to Performer Training - Dick McCaw Royal Holloway UK PART 2: From Science into Creative Practice Chapter 4: The Work of Dr Mosche Feldenkrais: A New Applied Kinesiology and a Radical Questioning of Training and Technique - Maxine Sheets-Johnstone University of Oregon USA Chapter 5: Radical Practice: Practising Performance and Practising Oneself is the Same Activity - Roger Russell Feldenkraiszentrum Heidelberg Germany Chapter 6: Gaining insight on the impact of Feldenkrais Functional Integration in the context of piano playing: Considerations for measuring posture and movement quality: Part I: The Feldenkrais Method and Pianists: A pilot study of objective measurement of posture and movement - Jillian Beacon University of Ottawa Canada Gilles Comeau University of Ottawa Canada and Donald Russell Carleton University Canada Chapter 7: Part II: Considerations for measuring posture and movement quality - Jillian Beacon University of Ottawa Canada Gilles Comeau University of Ottawa Canada and Donald Russell Carleton University Canada PART 3: Studies in Creative Practice Chapter 8: Mapping Body Awareness onto Piano Performance for Artistic Rejuvenation - Alan Fraser Alan Fraser Piano Institute France Chapter 9: Building a Model for Injury Prevention in Music Pedagogy Rooted in Feldenkrais's Philosophy and Methodology for Learning - Lisa Burrell Lone Star College Houston Texas USA Chapter 10: A Sense of Safety: Polyvagal Theory The Feldenkrais Method and the Acting Process - Victoria Worsley Feldenkrais Guild UK Chapter 11: Curing the Acting Habit - The Feldenkrais Method Actors compulsion and the performing-arts industry - Mark Lacey Independent scholar UK Chapter 12: Tuning the Body: dancing and singing from rehearsal to performance - Marcia Carr Independent scholar UK Chapter 13: Food for no-thought . meandering between a personal somatic practice and Feldenkrais teaching - Sylvie Forth professor at the Dance Department of University du Québec à Montréal Canada Bibliography Index
TABLE OF CONTENTS List of Figures List of Contributors Foreword by Garet Newell Acknowledgements Introduction by Robert Sholl University of West London UK PART 1: Historical Perspectives on Creative Practice Chapter 1: Feldenkrais and the Modernist Body - Thomas Kampe Bath Spa University UK Chapter 2: Feldenkrais Freud Lacan and Gould: how to love thyself not as thy neighbour - Robert Sholl Royal Academy of Music UK Chapter 3: Learning Through Feeling: How the Ideas of Nikolai Bernstein and Moshe Feldenkrais Apply to Performer Training - Dick McCaw Royal Holloway UK PART 2: From Science into Creative Practice Chapter 4: The Work of Dr Mosche Feldenkrais: A New Applied Kinesiology and a Radical Questioning of Training and Technique - Maxine Sheets-Johnstone University of Oregon USA Chapter 5: Radical Practice: Practising Performance and Practising Oneself is the Same Activity - Roger Russell Feldenkraiszentrum Heidelberg Germany Chapter 6: Gaining insight on the impact of Feldenkrais Functional Integration in the context of piano playing: Considerations for measuring posture and movement quality: Part I: The Feldenkrais Method and Pianists: A pilot study of objective measurement of posture and movement - Jillian Beacon University of Ottawa Canada Gilles Comeau University of Ottawa Canada and Donald Russell Carleton University Canada Chapter 7: Part II: Considerations for measuring posture and movement quality - Jillian Beacon University of Ottawa Canada Gilles Comeau University of Ottawa Canada and Donald Russell Carleton University Canada PART 3: Studies in Creative Practice Chapter 8: Mapping Body Awareness onto Piano Performance for Artistic Rejuvenation - Alan Fraser Alan Fraser Piano Institute France Chapter 9: Building a Model for Injury Prevention in Music Pedagogy Rooted in Feldenkrais's Philosophy and Methodology for Learning - Lisa Burrell Lone Star College Houston Texas USA Chapter 10: A Sense of Safety: Polyvagal Theory The Feldenkrais Method and the Acting Process - Victoria Worsley Feldenkrais Guild UK Chapter 11: Curing the Acting Habit - The Feldenkrais Method Actors compulsion and the performing-arts industry - Mark Lacey Independent scholar UK Chapter 12: Tuning the Body: dancing and singing from rehearsal to performance - Marcia Carr Independent scholar UK Chapter 13: Food for no-thought . meandering between a personal somatic practice and Feldenkrais teaching - Sylvie Forth professor at the Dance Department of University du Québec à Montréal Canada Bibliography Index
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