{"product_id":"the-feldenkrais-method-in-creative-practice-9781350203495","title":"The Feldenkrais Method in Creative Practice","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eBringing together scholars and researchers in one volume, this study investigates how the thinking of the Ukrainian-Israeli somatic educationalist Moshe Feldenkrais (1904-84) can benefit and reflect upon the creative practices of dance, music and theatre. Since its inception, the Feldenkrais Method has been associated with artistic practice, growing contiguously with performance, cognitive and embodied practices in dance, music, and theatre studies. It promotes awareness of fine motor action for improved levels of action and skill, as well as healing for those who are injured. For creative artists, the Feldenkrais Method enables them to refine and improve their work. This book offers historical, scientific and practical perspectives that develop thinking at the heart of the Method and is divided into three sections:\u003ci\u003e Historical Perspectives on Creative Practice\u003c\/i\u003e, \u003ci\u003eFrom Science into Creative Practice\u003c\/i\u003e and \u003ci\u003eStudies in Creative Practice\u003c\/i\u003e. All the essays provide insights int\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003eAn ambitious and informative journey - full of studio insights for the Feldenkrais practitioner, and timely observations at the intersection of art practice, neuroscience, and psychology. * Annie Loui, UC Irvine, USA *\u003cbr\u003eI encountered the Feldenkrais methodology alongside other postural methods to help performers such as, Alexander Technique and Grindea Technique as part of my Master of Arts degree. I was struck by the somatic techniques used in the learning of the FM, and how these sensory awareness skills learned, synthesized with the kinesthetic aspects of instrumental pedagogy\/learning. In addition to my professional musical performance, I am a keen amateur golfer; I have found the technique useful in reordering my posture. * Andrew Dunn, Trinity Laban Conservatoire, UK *\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eTABLE OF CONTENTS   List of Figures List of Contributors Foreword by Garet Newell Acknowledgements   Introduction by Robert Sholl, University of West London, UK    \u003cb\u003ePART 1: Historical Perspectives on Creative Practice\u003c\/b\u003e    Chapter 1: \u003ci\u003eFeldenkrais and the Modernist Body\u003c\/i\u003e - Thomas Kampe, Bath Spa University, UK    Chapter 2: \u003ci\u003eFeldenkrais, Freud, Lacan, and Gould:\u003c\/i\u003e\u003ci\u003e how to love thyself not as thy neighbour\u003c\/i\u003e - Robert Sholl, Royal Academy of Music, UK    Chapter 3: \u003ci\u003eLearning Through Feeling: How the Ideas of Nikolai Bernstein and Moshe Feldenkrais Apply to Performer Training\u003c\/i\u003e - Dick McCaw, Royal Holloway, UK    \u003cb\u003ePART 2: From Science into Creative Practice\u003c\/b\u003e    Chapter 4: \u003ci\u003eThe Work of Dr Mosche Feldenkrais: A New Applied Kinesiology and a Radical Questioning of Training and Technique \u003c\/i\u003e- Maxine Sheets-Johnstone, University of Oregon, USA    Chapter 5: \u003ci\u003eRadical Practice: Practising Performance and Practising Oneself is the Same Activity \u003c\/i\u003e- Roger Russell, Feldenkraiszentrum, Heidelberg, Germany    Chapter 6: Gaining insight on the impact of Feldenkrais Functional Integration in the context of piano playing: Considerations for measuring posture and movement quality: Part I: \u003ci\u003eThe Feldenkrais Method and Pianists: A pilot study of objective measurement of posture and movement\u003c\/i\u003e - Jillian Beacon, University of Ottawa, Canada, Gilles Comeau, University of Ottawa, Canada and Donald Russell, Carleton University, Canada     Chapter 7: Part II: \u003ci\u003eConsiderations for measuring posture and movement quality\u003c\/i\u003e - Jillian Beacon, University of Ottawa, Canada, Gilles Comeau, University of Ottawa, Canada and Donald Russell, Carleton University, Canada     \u003cb\u003ePART 3: Studies in Creative Practice\u003c\/b\u003e    Chapter 8: \u003ci\u003eMapping Body Awareness onto Piano Performance for Artistic Rejuvenation\u003c\/i\u003e - Alan Fraser, Alan Fraser Piano Institute, France    Chapter 9: \u003ci\u003eBuilding a Model for Injury Prevention in Music Pedagogy Rooted in Feldenkrais’s Philosophy and Methodology for Learning\u003c\/i\u003e - Lisa Burrell, Lone Star College, Houston, Texas, USA    Chapter 10: \u003ci\u003eA Sense of Safety: Polyvagal Theory, The Feldenkrais Method and the Acting Process\u003c\/i\u003e - Victoria Worsley, Feldenkrais Guild, UK    Chapter 11: \u003ci\u003eCuring the Acting Habit – The Feldenkrais Method, Actors, compulsion, and the performing-arts industry\u003c\/i\u003e - Mark Lacey, Independent scholar, UK    Chapter 12: \u003ci\u003eTuning the Body: dancing and singing from rehearsal to performance \u003c\/i\u003e- Marcia Carr, Independent scholar, UK    Chapter 13: \u003ci\u003eFood for no-thought … meandering between a personal somatic practice and Feldenkrais teaching\u003c\/i\u003e - Sylvie Forth, professor at the Dance Department of University du Québec à Montréal, Canada    Bibliography  Index","brand":"Bloomsbury Publishing PLC","offers":[{"title":"Default Title","offer_id":49407520997719,"sku":"9781350203495","price":26.99,"currency_code":"GBP","in_stock":false}],"url":"https:\/\/bookcurl.com\/products\/the-feldenkrais-method-in-creative-practice-9781350203495","provider":"Book Curl","version":"1.0","type":"link"}