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Rix The two articles cited above appeared side by side in Theatre Topics of September Susana Bloch, having conducted lectures and workshops at conferences of the Association for Theatre in Higher Education since , was presenting her work to the larger community of American theatre artists; I wrote as a novice who had experimented with a portion of the technique, my familiarity with it limited to attendance at ATHE sessions and a review of articles written by Bloch and her colleagues.
Hundreds of hours of training and application over the past four years have revealed the issue of guiding students safely through emotional states to be a matter of practice and constant awareness; integration with existing techniques will require continued exploration. The sheer power of the technique convinces me that it will, sooner or later, have a pervasive influence on the craft of acting in this country.
Shortly after the appearance of the Theatre Topics article, Bloch offered a two-week course near her home in Cachagua, Chile, the first such training available to actors and teachers outside of the established groups that helped develop the technique in Europe and Chile.
While those of us who had begun our training in Chile were given approval to train our own students in Alba Emoting, Bloch suspended beginning courses open to the general theatre community. Far back in the shadows of my mind also lurks Charles Darwin and William James, both important names in the field of Psychology. One day, in around , while traveling by train from Paris to London to present my work at a symposium, there suddenly and mysteriously appeared seated next to me who but William James in person!
He winked at me and disappeared. As I awoke from my reverie, I found on the seat a copy of one of his articles entitled What is an Emotion?
I began to read it right then and there and as I progressed with the reading, my attention was more and more captivated as I felt how close his writings were to my own reflections and experiences.
I have decided to present his ideas here as they seem to me completely pertinent to the subject treated in this book. William James, a remarkable medical doctor, psychologist and philosopher, brother of the no less famous novelist, Henry James, was the first to try to describe systematically the relation existing between the subjective experience of an emotion and the concomitant body manifestations of that emotion.
In he developed the theory that emotional experience is secondary to bodily changes, a proposition which had already been insinuated by Charles Darwin. Darwin had established the universality of basic emotions, mainly based on their facial and body expressions. The theory of James is known as the James-Lange Theory, because the Danish physiologist, Carl Lange, independently developed the same ideas at the same time.
My thesis on the contrary is that the bodily changes always follow the perception of the exciting fact, and that our feeling of the same changes as they occur is the emotion. The hypothesis to be defended here says that this order of sequence is incorrect, that the one mental state is not immediately induced by the other, that the bodily manifestations must first be interposed between. And that the more rational state- ment is that we feel sorry because we cry, strike or tremble, because we are sorry, angry, or fearful, as the case may be.
And what is really equally prominent, but less likely to be admitted until special attention is drawn to the fact, is the continuous co-operation of the voluntary muscles in our emotional states. Even when no change of outward attitude is produced, their inward tension alters to suit each varying mood, and is felt as a difference of tone or of strain.
In depression the flexors tend to prevail, in elation or belligerent excitement the extensors take the lead. And the various permutations and combinations of which these organic activities are susceptible make it abstractly possible that no shade of emotion, however slight, should be without a bodily reverberation as unique, when taken in its totality, as is the mental mood itself.
When we are worried, however slightly, we may become aware of the tensing of our eyes and our frowning; when we suddenly feel shy, something inside our throats makes us swallow, cough or clear our throats.
Can one fancy the state of rage and picture no ebullition of it in the chest, no flush- ing of the face, no dilation of the nostrils, no clenching of the teeth, no impulse to vigorous action, but in their stead, limp muscles, calm breathing and a placid face? Sign up for our mailing list here and receive information on our upcoming workshops. What is Alba Emoting? Emotional Effector Patterns are the results of foundational research supporting these methods.
They are precise breathing and muscle manipulation patterns learned in gradual developmental exercises that help a person control and regulate emotions. Each effector pattern has three parts: 1 a breathing pattern, 2 facial expression, and 3 postural attitude. All three parts work together to create one effector pattern, or biological code, that directly stimulates cells and organs. Necessary cookies are absolutely essential for the website to function properly.
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