Feldenkrais Method in Performer Training

Flow, an optimal state for study, training and creativity, is often linked with the concept of The Zone, an ideal state for elite performance. Are these two states identical, or how might they differ?  Does it matter, which name we use? See more at www.TheFlow.Zone

In this first of two parts, I’m considering the similarities between Flow and The Zone, as two of the many different manifestations of Hypnotic trance. I’m arguing for very careful use of language, but not for the sake of a more rigorous theoretical discussion. The narrow definitions of some terms are highly contentious, so I’m deliberately accepting broad definitions in order to sidestep those theoretical debates. But I suggest that precise choice of terminology is vital, for utterly practical reasons.

Считается, что ключевую роль в соматических практиках играет осознавание движений. Однако, в выразительной двигательной импровизации сознательный контроль движений является сбивающим фактором.

Опыт же показывает, что соматические практики развивают способность к импровизации.

Теория Бернштейна даёт ключ к разрешению этого противоречия, если рассмотреть движения с ведущим уровнем смыслов E.

Drawing extensively on conversations with three theatre practitioners about the use of the Feldenkrais Method in puppetry training and performance contexts, this article aims to think
beyond the more obvious benefits such as enhanced movement awareness, coordination and pain-relief. It suggests that the Feldenkrais Methodw and puppetry together offer a strong dyad
for ecological and restorative human performance practice.

A physical movement can be construed in many ways. For some researchers of mathematics education informed by embodiment theories this is important, as they perceive a mathematical concept as a polysemous structure grounded in multiple interrelated sensorimotor constructions. In this dance is no different. Similarly in both disciplines, the more ways one has of thinking about a movement and the more connections one builds across these different constructions, the deeper and richer one's understanding and proficiency in enacting the movement and the greater one's capacity to transpose the learning to new contexts. In both mathematics and dance, instructors thus seek to create conditions for students to develop diverse subjective constructions of the movements they are learning to enact and to explore relations across these different constructions. Any pedagogical discussion of movement, whether in dance or mathematics, must be a discussion of the individual's subjective phenomenology and increasing awareness. In reflection, the very possibility of the authors' interdisciplinary dialogue is testimony to the cohesive potential in systemic conceptualizations of human movement.

Author(s): Abrahamson, D; Sanchez-Garcia, R; Smyth, C | Abstract: © 2016 ISLS. Learning scientists have been considering the validity and relevance of arguments coming from philosophy and cognitive science for the embodied, enactive, embedded, and extended nature of individual learning, reasoning, and practice in sociocultural ecologies. Specifically, some design-based researchers of STEM cognition and instruction have been evaluating activities for grounding subject content knowledge in interactive sensorimotor problem solving. In so doing, we submit, the field stands greatly to avail of theoretical models and pedagogical methodologies from disciplines oriented explicitly on understanding, fostering, and remediating motor action. This conceptual paper considers potential values of ecological dynamics, a perspective originating in kinesiology, as an explanatory resource for tackling enduring Learning Sciences research problems. We support our position via an ecologicaldynamics reexa...