Table of Contents
Acknowledgements…………………………………………………………………….
I. ARTHUR LESSAC’S KINESENSICS AND EMBODIED ACTOR TRAINING…
Contemporary Embodied Actor Training………………………………………
The Pedagogical Challenges of an Embodied Practice………………………...
Methods…………………………………………………………………...……
II. GETTING TO KNOW YOU…………………………………………………..……
Back to Basics: Body Wisdom ………………………..……………………….
Feeling the Process Within: Breath…………………………………………….
Body Esthetics………………………………………………………………….
Gestalt………………………………………………………………………….
III. BRAIDING PERCEPTIONS THROUGH HEIGHTENED AWARENESS…..….
The Familiar Event Principle and Organic Instruction ………………………..
Attention………………………………………………………………………..
Habitual Awareness Principle and De-Patterning Principle……………………
The Braiding of Perceptions Through Gestalt………………………………….
The Flow Between Body Esthetics, the Familiar Event Principle, and Organic
Instruction………………………………………………………………
IV. THE ACTOR’S RELATIONSHIP WITH SPACE……………………………....
The Actor’s Inner Space……………………………………………………….
The Actor Inhabits Space………………………………………………………
An Expressive Other…………………………………………………………
V. SPONTANEOUSLY FREE………………………………………………
Braiding of the Sentient and Sensible……………………………………….
Subjectivity in Performance…………………………………………………
Accomplishing Dual Consciousness…………………………………………
AFTERWORD……………………………………………………………………….
A Word on the Importance of Trust………………………………………….
APPENDIX A: SELECT TIMELINE OF ARTHUR LESSAC’S LIFE AND
CAREER……………………………………………………………………...
APPENDIX B: SAMPLE CURRICULUM…………………………………………...
APPENDIX C: EXPLORATIONS FOR PERSONAL DISCOVERY……………….