Improvisation and Complexity – Translated by Anna Grazia Cafaro and Melina Masterson
Have you ever prepared a discourse by heart and then found out that, when the moment arrives, surprise and uniqueness of hic et nunc are inevitable? No matter how much you prepare a text, it will need improvisation to be used on a stage or in the street. But, what is the limit between improvisation and technique, experience and training? Can we scientifically measure the improvisation of a text?
This work aims to investigate in which dimension art meets science and how it happens. Artists need to discover new conceptual instruments that contribute to the probing of the laws of matter, social existence, and the human mind. The rigorous and fascinating trip that Anna Grazia Cafaro proposes to capture the sense, function, and nature of the actor’s improvisation is a splendid and a unique example of a “new alliance” between art and science, predicted forty years ago by the scientist Ilya Prigogine and the philosopher Isabelle Stengers.
Thanks to the application of Chaos Theory to the theatrical processes, attempted here for the first time, the actor and the performance are analyzed as “complex dynamic systems” like a cell, in which, paradoxically, chaos and order coexist and maintain the system in balance; the continuous passages from chaos to order, create the necessary tension and energy that allows the spectator to build his own meaning.
Despite the complex theoretical concepts this book is written in an accessible language and includes clear examples that make it comprehensible to a wide audience. It is perfect for students of theater, practitioners, scholars, and anyone who is curious about communicative mechanisms. It can be used in theater, science, comparative literature, and philosophy departments.
Prologue by José Sanchis Sinisterra
← vi | vii →
The divorce between arts and sciences would seem understandable if we were to consider them in their respective realms, but this divorce should not be justifiable in the context of theory or, at least, in that of philosophy or knowledge. Considering that both art and science are two methods of investigating, comprehending and transforming reality, in the twenty-first century, it is not possible to maintain or to fuel this apparent incongruity.
In particular, if the artist, preoccupied with adapting his thought and his work to the growing complexity of a world in transformation, did not try to approach the paradigms that the new scientific research offers to the astonished modern man, he would fall into a sterile narcissism. Artists need to discover new conceptual instruments that contribute to the probing of the laws of matter, life, social existence, and the human mind.
You are not authenticated to view the full text of this chapter or article.
This site requires a subscription or purchase to access the full text of books or journals.
Do you have any questions? Contact us.Or login to access all content.