Quintessence of Dust: Cognitive Neuroscience and an Actor's Process

This thesis examines theories provided by cognitive neuroscience and applies them to an actor’s process. In particular, this research addresses the subjectivity and intentionality of our consciousness and special as-if states of consciousness, supported by the work of John Searle and Antonio Damasio. The phenomenal feeling of character-model control is discussed and supported by the work of Thomas Metzinger. The paper also considers our relative understanding of mirror neurons and specifically their function in relation to intersubjectivity and their use for an actor’s creation and conveyance of character in rehearsal and performance. It examines Stanislavsky’s notion of emotional memory and imagination. Finally, a personal case study is included which reflects my involvement in theater. The case study serves as a functional correlation between the concepts derived from cognitive neuroscience and recognized theatrical practices. It endeavors to discern areas where an understanding of the afore mentioned theories would have been advantageous to my overall performance, and to other actors as well. What a piece of work is a man! / How noble in reason, how infinite in faculties, / in form and moving how express and admirable, / in action how like an angel, in apprehension how like / a god! The beauty of the world, the paragon of animals! / And yet, to me, what is this quintessence of dust? (Shakespeare, Hamlet, Act II, ii.) “What is this quintessence of dust?” It is a question almost all of us ask ourselves at some point in our lives. Perhaps we are not as poetic in our query as William Shakespeare, nevertheless, our ontological curiosity is persistent. Theater provides a place for ontological exploration, and to express the stories that assert our existence. Actors portray the characters that tell these stories, and endeavor to do so believably. If an actor has relevant knowledge of her own ontology, she is better equipped to create a more veridical character, and therefore tell a more veridical story. The relevant knowledge of our ontology can be found in cognitive neuroscience. Science has provided extensive support for theatrical endeavors arguably since formal theater began. The study of our biology, physiology, mental states, emotive capacities, and behavior are all constitutive properties for understanding what it is to be human. Cognitive neuroscience is the current manifestation of the study of our ontology. The research being done in this new mind science is providing solid, verifiable data about our brains. This is specifically applicable for the comprehension of our consciousness. How does neuroscience apply to an actor’s process of developing a character and conveying that character in performance? When an actor learns about theatrical concepts, she learns to rely on them. Some archetypal examples of theatrical concepts are: emotional memory—the inner emotional content that an actor draws upon relationally to express the story of the play through the developed character; given circumstances—the conditions present within the play: the place, time, words, images, and emotional content, basically, the world of the play the actor is given by the playwright in which