Difference between revisions of "Lefebvre2018"

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{{BibEntry
 
{{BibEntry
|Key=Lefebvre2018
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|BibType=ARTICLE
|Key=Lefebvre2018
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|Author(s)=Augustin Lefebvre;
 
|Title=Reading and embodying the script during the theatrical rehearsal
 
|Title=Reading and embodying the script during the theatrical rehearsal
|Author(s)=Augustin Lefebvre;
 
 
|Tag(s)=EMCA; French; Japanese; embodiment; ethnomethodology; reading; script; social interaction and theatrical rehearsal
 
|Tag(s)=EMCA; French; Japanese; embodiment; ethnomethodology; reading; script; social interaction and theatrical rehearsal
|BibType=ARTICLE
+
|Key=Lefebvre2018
 
|Year=2018
 
|Year=2018
 +
|Language=English
 
|Month=oct
 
|Month=oct
 
|Journal=Language and Dialogue
 
|Journal=Language and Dialogue

Revision as of 10:24, 25 October 2018

Lefebvre2018
BibType ARTICLE
Key Lefebvre2018
Author(s) Augustin Lefebvre
Title Reading and embodying the script during the theatrical rehearsal
Editor(s)
Tag(s) EMCA, French, Japanese, embodiment, ethnomethodology, reading, script, social interaction and theatrical rehearsal
Publisher
Year 2018
Language English
City
Month oct
Journal Language and Dialogue
Volume 8
Number 2
Pages 261–288
URL Link
DOI 10.1075/ld.00015.lef
ISBN
Organization
Institution
School
Type
Edition
Series
Howpublished
Book title
Chapter

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Abstract

The paper develops an ethnomethodological, conversation-analytic and multimodal approach of the theatrical rehearsal, examining how participants collaboratively read, understand and embody the script. After examining the spatial organization of the setting, the paper focuses on the following interactional practices: (1) from the participants' perspective, the script appears as a written sequence of lines to connect with their knowledge of social interaction; (2) participants understand the script through their sequential and contextual readings; (3) they collaboratively connect the utterance of written lines with embodied behavior through the check-reading, and (4) by coordinating the lines with pauses and gaze directions. The analysis relies on video-recordings in French and Japanese collected at an Art center in Japan.

Notes