By Stephen Di Benedetto
Di Benedetto considers theatrical perform in the course of the lens of up to date neuroscientific discoveries during this frightening learn, which lays the basis for contemplating the physiological foundation of the ability of theatre perform to impact human habit. He provides a simple precis of the ways in which the senses functionality with regards to cognitive technology and body structure, supplying an summary of dominant traits of dialogue at the realm of the senses in functionality. additionally provided are examples of ways these principles are illustrated in fresh theatrical displays, and the way different senses shape the constitution of a theatrical occasion. Di Benedetto concludes by means of suggesting the prospective implications those neuroscientific rules have upon our knowing of theatrical composition, viewers reaction, and the new release of which means.
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Additional resources for The Provocation of the Senses in Contemporary Theatre
Example text
Eyes enable us to see and interpret the shapes, colors, and dimensions of the world’s features and the objects that fi ll it by processing the light they reflect or emit. 1 To see something, the eye must fi rst focus on an image, then the correct amount of light must be admitted to the eye so that light rays can be focused on the retina (the inner layer of the eye containing light-sensitive cells that connect with the brain through the optic nerve). Light reflected from an object passes through the cornea of the eye, moves through the lens that focuses it, and then reaches the retina at the very back, where it is absorbed into the photosensitive pigments in 32 The Provocation of the Senses in Contemporary Theatre the rods and cones.
Garver’s analysis shows us how these events take on meaning in a culturally or aesthetically significant way. He continues: SRL turns this technology into nightmarish visions that match in their fiendishness the effect our technological obsessions have on our 28 The Provocation of the Senses in Contemporary Theatre society. Yet, unlike more conventional indictments of social injustice, SRL’s spectacles do not allow their audience to rest comfortably with a self-righteous message. For SRL, violence takes precedence over social critique.
By mimicking ancient rituals a performance event makes use of our inherited modes of perception. Cognitive anthropologists suggest that the perception of the physical world may be our oldest form of consciousness, because sensory perception allowed the Paleolithic hunter–gathers to discriminate between leaves of nutrient-rich spinach leaves and poisonous Taro leaves. It was in the Stone Age, only ten thousand years ago, when we began to distinguish ourselves as being able to cope with a larger array of conscious decisions.