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The art of I am: A performative app...

Wu, Hwai-Hsuan Eric.

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The art of I am: A performative approach towards art education.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The art of I am: A performative approach towards art education./
作者:	Wu, Hwai-Hsuan Eric.
面頁冊數:	207 p.
附註:	Source: Dissertation Abstracts International, Volume: 64-08, Section: A, page: 2749.
Contained By:	Dissertation Abstracts International64-08A.
標題:	Education, Art. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=NQ81620
ISBN:	0612816206

The art of I am: A performative approach towards art education.
Wu, Hwai-Hsuan Eric.

The art of I am: A performative approach towards art education. - 207 p.

Source: Dissertation Abstracts International, Volume: 64-08, Section: A, page: 2749.

Thesis (Ph.D.)--Simon Fraser University (Canada), 2003.

This thesis is developed for proposing the idea of embodiment in today's art education. Proposed pedagogic model is the embodied learning through experiencing stage acting.

ISBN: 0612816206Subjects--Topical Terms:

1018432
Education, Art.

The art of I am: A performative approach towards art education.
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500 $a Source: Dissertation Abstracts International, Volume: 64-08, Section: A, page: 2749.
500 $a Adviser: Allan MacKinnon.
502 $a Thesis (Ph.D.)--Simon Fraser University (Canada), 2003.
520 $a This thesis is developed for proposing the idea of embodiment in today's art education. Proposed pedagogic model is the embodied learning through experiencing stage acting.
520 $a I claim embodiment is the balance of multiplicities of self and embodied capacity is like the thread to connect all the senses in our body. Embodied capacity is the craft of experiencing ourselves in art as well as in the learning of art. An embodied status must be ontologically experienced; it is originated from a series of dynamic reflections, capable of providing simultaneous actions and reactions in responding to whatever we have encountered the world. Reflections and actions intertwine together to generate our ontological senses of sensibility and creativity.
520 $a Embodied capacity can be best explored through experiencing stage acting, because theatre is the place for us to create another world to inhabit. Through developing the ontological affections on the stage, we are capable of creating ourselves in the world from within the world. This is the main purpose of this thesis---to propose the notion of acting as a path towards experiencing the feeling of "I am," and "the feeling of I am" as a path towards experiencing the feeling of "I am in art."
520 $a To support my ideas, I mostly apply Heidegger's Ontology and Merleau-Ponty's Body Aesthetics as philosophical references of reflection. For the implementation of acting, I apply my group---the Xiang Performance Group---as a case of study. However, I wouldn't like to treat this thesis as a study of the theory of acting, or the application of philosophy upon acting, because, eventually, I am doing art education, not theatre education or aesthetic education.
520 $a As an artist as well as an art educator, I always believe the essence of today's art education does not lie in the knowing of art, but in the embodied affections through experiencing art. Through developing our embodied capacities, our authentic sense of touch can be sharpened, our conventional body-mind relationship can be refreshed, and our natural gift of creativity and imagination can be reflected.
520 $a Act 1 is the analyses of art and acting.
520 $a Act 2 (The Embodied Mind) is the analyses of reflection.
520 $a Act 3 (The Medium) is the analyses of body.
520 $a Act 4 (The Method) is the method of my trial.
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790 1 0 $a MacKinnon, Allan, $e advisor
790 $a 0791
791 $a Ph.D.
792 $a 2003
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