Social confrontation is a particular kind of communication episode which may be initiated when one actor signals another actor that his or her behavior has violated (or is violating) a rule or expectation for appropriate conduct within the relationship or situation (Newell & Stutman, 1988). This paper explores the decision, structure and process of rehearsing for confrontation. Intensive interviews with 75 actors followed by a questionnaire administered to 99 others revealed that confronters maintain two strands of confrontative goals: strategic and (...) performance goals. Strategic goals for confronters include (a) influence, (b) catharsis, (c) relational maintenance, (d) retribution, and (e) enhanced understanding of the other. While these goals lead to different tactical outcomes, actors also hold intentions related to performance goals. Two performance goals are of central concern to some actors: (a) the desire to be argumentatively complete, and (b) the desire to maintain the position of the confronter rather than the confrontee. An analysis of the data revealed that differences in goal configurations guided both the decision to rehearse and the process of this rehearsal. (shrink)

Imagery Rehearsal Therapy is effective for trauma-related nightmares and is also a challenge to patients in finding access to their traumatic memories, because these are saved in non-verbal, visual, or audiovisual language. Art therapy is an experiential treatment that addresses images rather than words. This study investigates the possibility of an IRT-AT combination. Systematic literature review and field research was conducted, and the integration of theoretical and practice-based knowledge resulted in a framework for Imagery Rehearsal-based Art Therapy. The (...) added value of AT in IRT appears to be more readily gaining access to traumatic experiences, living through feelings, and breaking through avoidance. Exposure and re-scripting take place more indirectly, experientially and sometimes in a playlike manner using art assignments and materials. In the artwork, imagination, play and fantasy offer creative space to stop the vicious circle of nightmares by changing theme, story line, ending, or any part of the dream into a more positive and acceptable one. IR-AT emerges as a promising method for treatment, and could be especially useful for patients who benefit least from verbal exposure techniques. This description of IR-AT offers a base for further research. (shrink)

This philosophical study addresses the implications of the legal case Stratechuk v. Board of Education, ruling that a policy prohibiting the performance of religious-themed holiday music did not violate the United States Constitution. Two questions are investigated: the differences between the classroom study and public performance of religious music, and the study of holiday music as a subgenre of religious music. Conclusions suggest that a school policy delineating between the rehearsal and performance of sacred music fails to appreciate the (...) interrelationship of these musical practices. While this type of policy attempts to resolve controversy by moving sacred music out of public performance spaces it does not succeed in addressing the underlying philosophical tensions involved in the curricular use of sacred music. Further, a policy that allows the musical celebration of only secular aspects of particular holidays unnecessarily privileges secular over religious meanings and thus limits students’ contextual understanding of the holiday. The academic performance of sacred music within the comprehensive study of a given holiday should not constitute an endorsement of particular religious beliefs, or violate an appropriate position of religious neutrality. (shrink)

The theatre actor’s process in a rehearsal hall is reality and metaphor. It can be a rehearsal for justice, where we can live freely. In this laboratory the actor becomes all of us. Like the actor, we inhabit our bodies and our sexualities, sometimes as spiritual practice, or as sacred and creative, even as incarnations. In particular, women’s bodies remember what it is like to be no-body and what it is like to be a some-body. The texts of (...) women’s bodies contain their history of pain, wellness and illness. In creating a character, the actor creates a biography, an inner life, and the actor’s imagination aligns with the character’s situation. This is the creation of a character’s ‘living story’. Similarly, for all of us, this is akin to self knowledge. When women and sexual minorities tell their stories and listen to each others’ self knowledge, they are reading their bodies as texts. And worlds split open. (shrink)

This article investigates the identity constructions of a former hooligan in two repeated narratives, obtained through interviews with a time lapse of six years. In both narratives, the interviewee constructs a similar heroic identity and opposes it to other categories such as cowards and followers. However, when relating how he became a hooligan, the interviewee presents himself as a follower. This contradiction with the heroic identity shows his struggle with group membership and that ‘identity work’ is an ongoing process. On (...) the other hand, the striking similarity between the identity constructions in both interviews supports the thesis of a rehearsed self in big stories, but I argue that this is also due to other reasons, namely the role of the same interviewer who co-constructs the interview but who is also an outsider, and the influence of previous ‘rehearsals’ of the story, both within the group of hooligans and in real life. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Rehearsal and Hamilton’s “Ingredients Model” of Theatrical PerformanceDavid Davies (bio)IArtistic performances can be thought of as “doings”—things that are done—that share the following features of performances in general: they involve actions aimed at achieving some result; they are open, at least in principle, to public scrutiny and assessment; and they are usually presented to a relevantly informed public with the intention that they be appreciated and assessed, and (...) perhaps also with the intention that some practical goal be achieved. A performance can be classified as “artistic” in a descriptive (rather than normative) sense if it bears in one of the following ways upon the appreciation and evaluation of a focus of artistic appreciation:1 either (a) the performance is itself a focus of artistic appreciation, or (b) the performance plays an essential part in the artistic appreciation and evaluation of something else that is a focus of artistic appreciation by virtue of being an instance of the latter.Many performances in the performing arts are described and treated as performances of something else that is itself an artwork of some kind. We can term the latter a “performed work” and the former a “work-performance.” A work-performance, insofar as it is an instance of a performed work that bears upon its proper artistic appreciation and evaluation, qualifies as artistic in sense (b). Arguably, a work-performance can itself be an object of artistic appreciation and evaluation and thereby also qualify as artistic in sense (a).2 Where we have an artistic practice in which some acknowledged artworks are designed to be performed works, the practice qualifies as what I shall term a “performance art.” The latter is an artistic practice in which our access to, and appreciation of, works (as receivers) is at least in part mediated [End Page 23] by performances of those works. Drama, music, and dance are usually taken to be performance arts in this sense. Intuitively, our access to performed works in the performance arts is at least in part mediated by performances because certain qualities of those works—relevant to their proper appreciation as the particular works they are—are only realizable, and thereby made apparent to receivers, in performances.Philosophical discussion of the performing arts has largely been concerned with performances taking place in the performance arts as characterized above, and thus with performances of performed works. Indeed, most philosophical discussion of the performing arts has focused on performances of performed works of classical music, the assumption being that the model seen to apply to such examples—what we may term “the classical paradigm”—also applies, with very few exceptions, to performances in other musical genres (in particular, jazz and rock) and to performances in other performance media (in particular, theater and dance). In all of these cases, it has been widely assumed, performances are generally of works, and the work-performance relationship is to be understood on the model of the classical paradigm. Performances not obviously open to such an analysis—free improvisations in music or dance, for example—have been viewed either as limiting cases of the classical paradigm or as of only marginal interest for a philosophical treatment of the performing arts.IIOne among the many virtues of James Hamilton’s book is that it challenges the hegemony of the classical paradigm in the performing arts by questioning its applicability to theatrical performances. He argues instead for an “ingredients model” of the relationship between a literary script and a theatrical work. According to the ingredients model, the text produced by a playwright is merely one ingredient that theatrical performance companies take into account when they set out to create a performance.3 It is taken to be a consequence of this that “a [theatrical] performance is... never a performance of some other work nor is it ever a performance of a text or of anything initiated in a text.”4 The alternative idea that theatrical works are to be understood in terms of the classical paradigm is what Hamilton terms the “text-based” view of such works. But adherents of the views that he opposes to the ingredients model may deny that theatrical... (shrink)

One of the central debates in cognitive science is the dispute over the role of representation in cognition: on computational/representational accounts, representations are theoretically central; on dynamic systems approaches in which cognition is investigated as a particular sort of physical process, representations play either no role, or, at best, a derivative one. But these two perspectives lead to a deeply unsatisfying theoretical divide: accounts situated in the representational camp are plagued by the inscrutable problem of intentionality, while those hedging towards (...) anti-representationalism seem incapable of saying anything theoretically interesting about high-level cognition. This unhelpful polarization is due in part, at least, to a muddy debate; while some take representationalism to be a commitment to the necessity of conceptual representations for cognition, representations the having of which require certain conceptual capacities, others do not. Recently, there has been a surge of work on non-conceptual representation. This article aims to add to this movement by suggesting a particular cognitive mechanism for non-conceptual representations, one that plays a pivotal role in making conceptual representations possible. One of the central consequences of this new view of representation is the possibility of a non-question-begging naturalistic account of intentionality. (shrink)

A scholarly edition of Rehearsal Transpros'd by Donal Ian Brice Smith. The edition presents an authoritative text, together with an introduction, commentary notes, and scholarly apparatus.

The subject of this research is the rehearsal process in choreographic art. The object of the study is the comprehension of this process as a creative integration of an artist and a teacher-tutor. The author examines in detail such aspects of the topic as the role of an artist, the preparation of a ballet dancer for a performance, gives examples of works of art that contribute to honing the professional skills of dancers. The author focuses on the importance of (...) participation in stage practice during the years of study, which allows you to feel more confident on stage as a professional ballet dancer, and also points out the main contradiction – the time limitation on the preparation of the artist for the part and the need to demonstrate impeccable performance. The importance of this research is expressed in the fact that in modern education and tutoring work in the theater, such a phenomenon as creative integration is an important factor in achieving the goals set, namely in obtaining and maintaining the professional level of academic theaters. The result of the conducted research is the design of a model of modern training of artists to participate in performances of the classical repertoire, with a focus on preserving the choreographic text and heritage as a whole. The novelty of the research lies in a comprehensive approach to the characterization of the creative integration of a ballet dancer and a teacher in the process of preparing for a performance, determining the leading professional traits of dancers, the presence of which allows us to realize the task of creating a high-quality product of joint activity of the performer and the teacher-tutor. (shrink)

Contemporary moral theorists are increasingly attentive to the ways human beings actually make sense of their moral experience and compose meaningful lives. Martha Nussbaum's re-introduction of Aristotelian practical wisdom and Alasdair MacIntyre's emphasis on narrativity are good examples of a shift in focus away from tedious polemics about the single "right thing to do" in a situation. But recent theorists have tended to lack a highly articulated philosophical framework--especially a full-blooded theory of moral belief and deliberation--that would enable us better (...) to wend our way along the trails they have blazed. We are born, MacIntyre proclaims, with a social past, a tradition into which we grow. Yet MacIntyre advances a new moral vision independent of recent philosophical traditions that might accommodate and direct his own insights and inquiries. Classical American pragmatism, especially as developed by John Dewey, provides a framework that can clarify and extend the achievements of contemporary moral theory. I contend that a thoroughgoing reconstruction of our moral vision would profit immensely from looking back to Dewey's theory of moral understanding. I propose here to articulate the center of vision of this theory by developing a Deweyan conception of deliberation as imaginative dramatic rehearsal. (shrink)

We discuss the role of short-term auditory verbal storage within a working memory system. Data from single case studies of patients with left parietal lesions and selective impairment of memory span are discussed in order to address the question of the functions of short-term memory in language processing. The backup resource of auditory verbal short-term memory is required for those tasks that necessitate backtracking in order to integrate a verbal message within a developing central cognitive representation.

Theater rehearsals are (usually) confronted with the problem of having to transform a written text into an audio-visual, situated and temporal performance. Our contribution focuses on the emergence and stabilization of a gestural form as a solution for embodying a certain aesthetic concept which is derived from the script. This process involves instructions and negotiations, making the process of stabilization publicly and thus intersubjectively accessible. As scenes are repeatedly rehearsed, rehearsals are perspicuous settings for tracking interactional histories. Based on videotaped (...) professional theatre interactions in Germany, we focus on consecutive instances of rehearsing the same scene and trace the interactional history of a particular gesture. This gesture is used by the director to instruct the actors to play a particular aspect of a scene adopting a certain aesthetic concept. Stabilization requires the emergence of shared knowledge. We will show the practices by which shared knowledge is established over time during the rehearsal process and, in turn, how the accumulation of knowledge contributes to a change in the interactional practices themselves. Specifically, we show how a gesture emerges in the process of developing and embodying an aesthetic concept, and how this gesture eventually becomes a sign that refers to and evokes accumulated knowledge. At the same time, we show how this accumulated knowledge changes the instructional activities in the rehearsal process. Our study contributes to the overall understanding of knowledge accumulation in interaction in general and in theater rehearsals in particular. At the same time, it is devoted to the central importance of gestures in theater, which are both a means and a product of theatrical staging. (shrink)

In this paper we explore the notion of rehearsal as a way to develop an embodied and enactive account of imagining. After reviewing the neuroscience of motor imagery, we argue, in the context of performance studies, that rehearsal includes forms of imagining that involve motor processes. We draw on Sartre’s phenomenology of imagining which also suggests that imagining involves motor processes. This research in neuroscience and phenomenology, supports the idea of an embodied and enactive account of imagination.

W. H. Auden's dictum "poetry makes nothing happen" has an enduring currency in poetic criticism, quoted ad nauseam to support the view that poetic discourse must never fall subservient to political ends.1 Conventional wisdom would hold that Hugh MacDiarmid, a poet more often noted for his obstinate commitment to communism, patently failed to heed this dictum. Indeed, as Scott Lyall notes, MacDiarmid's political poems are almost never anthologized, suggesting that the poems in which MacDiarmid's political views are made explicit are (...) of inferior poetic quality.2Yet one must acknowledge that its subject matter cannot be taken as an... (shrink)

This study tested the hypothesis that overt rehearsal is sufficient to explain enhanced memory associated with emotion by experimentally manipulating rehearsal of emotional material. Participants viewed two sets of film clips, one set of emotional films and one set of relatively neutral films. One set of films was viewed in each of two sessions, with approximately 1 week between the sessions. Participants were given a free recall test of all of films viewed approximately 1 week after the second (...) session. Rehearsal was manipulated by instructing one group of participants not to discuss the films with anyone (no talkgroup) and instructing a second group to discuss both sets of films with at least three people (forced talkgroup). A third group consisted of participants instructed not to discuss the films with anyone, but who did not comply with these instructions (talkersgroup). All groups recalled significantly more of the emotional films than the neutral films. Furthermore, the relative number of emotional and neutral films recalled did not differ significantly among the three groups. The results indicate that overt rehearsal is insufficient to explain the enhancing effects of emotion on memory. (shrink)

ABSTRACT:The principle that emergent writing is supported by talk, and that an appropriate pedagogy for writing should include planned opportunities for talk is well researched and well understood. However, the process by which talk becomes text is less clear. The term ‘oral rehearsal’ is now commonplace in English classrooms and curriculum policy documents, yet as a concept it is not well theorised. Indeed, there is relatively little reference to the concept of oral rehearsal in the international literature, and (...) what references do exist propose differing interpretations of the concept. At its most liberal, the term is used loosely as a synonym for talk; more precise definitions frame oral rehearsal, for example, as a strategy for reducing cognitive load during writing; for post-hoc reviewing of text; for helping writers to ‘hear’ their own writing; or for practising sentences aloud as a preliminary to writing them down. Drawing on a systematic review of the literature and video data from an empirical study, the paper will offer a theoretical conceptualisation of oral rehearsal, drawing on existing understanding of writing processes and will illustrate the ways in which young writers use oral rehearsal before and during writing. (shrink)

This paper develops a pragmatist approach to ethical business decision-making. It draws primarily on the work of John Dewey and applies his deliberative approach to ethics to the challenges of business practitioners. In particular the paper proposes the value of Dewey’s concept of dramatic rehearsal in emphasizing the task of “constructing the good” in ethical decision-making. The contribution of the paper is, first, to build on recent foundational work to bring American pragmatism into the mainstream business ethics literature; second, (...) to offer a perspective that is accessible to practitioners and integrates ethics into their daily tasks; and third, to identify a number of related research imperatives – in particular the importance of focusing efforts on gaining a deeper understanding of the deliberative process itself. (shrink)