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Tim
Title: Integral Artis Dramatis Musica
Gender: Male
Age: 38
Sun Sign: Aries
Chinese Sign: Metal Boar
Location: Las Vegas, NV
About Me:
How about a favorite quote …
“Ba ba ma? …”
-my daughter, personal communication, 2006
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Current Project:
I will be giving a poster presentation at the 1st Biennial Conference on Integral Theory in August at JFKU in San Francisco
Title: “The Missing Muses: Discovering Dramatic/Comedic and Fictional Intelligence”
Abstract: This study sought to account for acting ability by applying the AQAL model and discovered that, based upon only very recent empirical findings, dramatic intelligence is the coordination of two distinct human capacities: affective prosody–the psychophysically embodied ‘poetry’ or ‘music’ of affective expression–and the propositional imagination–the capacity which affords us the ability to create and engage in fictional-imaginary worlds. Not yet encompassed in the AQAL model, these two unique development lines also illuminate the human intelligence basis for an important number of related cultural, artistic and entertainment fields, while elucidating the 4Q patterns that connect them all.
Overall current work:
Cultivating Dramatic Intelligence, Understanding the Dramatic Mind
Centuries of religious, social and academic prejudice, a stark bias in modern science, and a complex array of both potential and inherent psychological confusions are all factors contributing to the reality that even at the dawn of the 21st Century dramatic theory remains mostly still within the realm of ambiguity, non-existence or confounding mystery. Yet, one of the most interesting facts about the 2,500 year history and evolution of actors, acting and the dramatic art as a whole is that without the same kinds of sound, objective and widely agreed upon principals and theory enjoyed by all of the other arts (e.g. music, painting, dance, sculpture), generation after generation, there is nothing to account for the continual presence of the art form except for the presence of dramatic talent. Thus, if we can discover the nature of dramatic talent we may not only for the first time in history be on our way toward a truly comprehensive, and objective, dramatic theory, but toward an understanding of our art and its artists as has never been possible before.
Harvard University Professor Howard Gardner redefined what it means to be intelligent with his Theory of Multiple Intelligences first outlined in his 1983 book Frames of Mind. Yet while multiple intelligences theory masterfully accounts for a spectrum of intelligence abilities available to human beings, particularly those necessary to produce and excel in all of the other arts, it comes up short once again when it comes to the question of the dramatic. One possible reason for this may be that acting, and certainly the whole of the drama, actually utilizes nearly every intelligence yet known and accounted for (e.g. linguistic, spatial, kinesthetic, interpersonal, etc.). But even the proposal of a broad conglomeration is not only subject to several serious points of critique, but still ultimately fails to account for what is unique about the drama and definitive in its mastery.
But new research - from the fields of cognitive science, developmental psychology, neurology and others - into two specific and previously neglected areas of human mind and ability, makes it now possible to apply the principals of multiple intelligences theory to the unique abilities of the actor–as well as the defining skills of the dramatic writer, director, producer, animator, cinematographer, dramatic score composer, dramatic lighting, sound and special effects designer, stunt coordinator, film editor and even costume and make-up designer and illuminates the common bridge between the dramatic art and other fields such as communications, modeling, stand-up comedy and more. All of which is to say, it is now possible to identify the dramatic intelligence.
Cultivating Dramatic Intelligence, Understanding the Dramatic Mind is a new seminar series which aims to capitalize on this new discovery and the amazing science that backs it. The seminar is particularly for the benefit of actors, but beneficial to all artists of all kinds working in the dramatic field. Questions and points of exploration include: What is dramatic talent? How does it develop? What is the genuine source of an actor's most inspired performances? Why do some roles work effortlessly while others do not? The five essential sources of emotion for the actor - cultivating these and others. Stanislavsky definitively reinterpreted in the light of 21st Century knowledge. Strasberg method, and how it differs, understood both cognitively and neurologically. Startling new definitions for “subconscious,” “affective memory,” individuality and the dramatic imagination. Where the science proves the philosopher Denis Diderot correct, as well as completely wrong. Properly orienting the infamous poles of “internal” vs. “external” and mind vs. body and integrating each into the single whole dramatic intelligence has always inherently afforded in potential . Understanding, in light of contemporary psychology, cognitive science and neurology, the incredible - yet previously confounding - threshold between fiction and reality and how the skilled actor (as well as artists of other kinds) really can and does possess the potential of a “dual consciousness.” How all of the multiple intelligences are activated and utilized in the dramatic art and how each diverse artist in the field uniquely coordinates or “couples” dramatic intelligence with other intelligences. (e.g. writer: linguistic/dramatic, composer: musical/dramatic, cinematographer: spatial/dramatic) Self discovery through understanding of self as natural, potential artist, and an individual living with the dramatic mind and gift.
Member Since: Friday, November 17 2006
Last Visit: 21 days ago.
Profile Viewed: 6135 times (last viewed less than a minute ago)
Goals
- An Integral Theory of Acting and the Dramatic Art
- the Integral Dramatic Art Theory includes cinema
- The Integral Dramatic Art Theory also includes comedy
- To make the case for Dramatic (/Comedic) Intelligence
- Howard Gardner's addition of Dramatic Intelligence to his MI list
- To support my family with my writing
- To support my family by use of my talents, once again and for all
- To inspire others and to wake up each morning inspired about
- doing that, once again
- In case you're wondering, Stand-up Comedy is included as well . .
