Temperament and the Roots of Interpretation
Vladimir Mirodan
vmirodan@hotmail.comUniversity of the Arts London (United Kingdom)
https://orcid.org/0000-0003-4680-2327
Abstract
Adopting the perspective of recent findings in psychology, this article examines the complex ways in which the personalities of individual actors and directors affect their interpretations of dramatic material. The article asks: How is it that in the crucible of the rehearsal room certain interpretative decisions “feel right” and others do not? What are the forces that shape these pre-reflexive processes? When taking interpretative decisions that can shape a performance or even an entire production, where does the balance lie between deliberate reflection, enculturated habits, and non-conscious processes? Are the latter rooted in our personalities? In search for answers, the article outlines the considerable effect genetic and epigenetic factors (“temperaments”) as well as inherited “tribal attitudes” have on the formation of personality. The article concludes by asking whether we need to look again at actor training in the light of advances in the psychology of individual differences and suggests a way for the practices of our training studios to renew themselves so as to reflect the findings of the new psychology.
Keywords:
acting, theatre directing, acting psychology, personality, interpretation, temperamentsReferences
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Authors
Vladimir Mirodanvmirodan@hotmail.com
University of the Arts London United Kingdom
https://orcid.org/0000-0003-4680-2327
Vladimir Mirodan - PhD, FRSA is Emeritus Professor of Theatre, University of the Arts London. Trained on the Directors Course at Drama Centre London, he has directed over 50 productions in the UK as well as internationally and has taught and directed in leading drama schools in the UK, the US, France and Israel. His research interests revolve around issues of acting psychology, in particular as this relates to the neuropsychology of gesture and posture; while most of his published work is concerned with cognitive approaches, he returns occasionally to his first interest—psychodynamic views of the acting process.
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