Revisiting the conceptual framework developed by Antonio Damasio in The Book of Consciousness with application to human behaviour in the performing arts

• Autor(a) principal: Mendes, Anabela
• Data de Publicação: 2017
• Tipo de documento: Artigo
• Idioma: por
• Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
• Texto Completo: https://doi.org/10.51427/cet.sdc.2017.0010
• topic: Interaction body-brain; Mind; Performer; Spectator; Cartography cabinet; Interacção corpo-cérebro; Mente; Performer; Espectador; Gabinete da cartografia

We know that the relationship between body and brain is established by neurons and their extensions: axons and dendrites. We also know that the complexity of our behaviour is due to this main system of the mind’s functioning. The possibility of looking at the relationship between the structure of the brain and that of the mind and the rest of the body has not always been taken for granted. “Neurons refer to the body”, says Damásio. The emotional manifestations of each of us and the ability to plan and organize tasks coexist in the same brain space, although their actions and effects occur in different areas of the brain mass and, therefore, also maintain a relationship inside this spaciality as a functional difference. The above findings are thus as valid for those who produce artistic performances as for anyone who expects this activity. What does the performer (actor /actress) think and feel while waiting for the performance to begin? What exactly will those who wait for the very beginning of that exact action feel and expect? Do they feel awaited as well? How does one combine and articulate the memory of the creation and construction of a performance? Where can their fears and rejoicing fit, precisely those emotions the other party does not experience in the same way?   INTERACTION BODY-BRAIN / MIND / PERFORMER / SPECTATOR / CARTOGRAPHY CABINET