What is it to be Human?What is it to be Human?

a Theatre Science Perspectivea Theatre Science Perspective

Richard Muscat & John J Schranz

April 20 – the opening of the seminars on THEATRE & NEUROSCIENCEOrganised by Umberto Eco’s Scuola Superiore di Studi UmanisticiUniversita degli Studi di Bologna

What is it that Neuroscience and Theatre-making have in common? What is it that Neuroscience and Theatre-making have in common? What could it be that each can learn from the other? What could it be that each can learn from the other? what could a reflection on this tell us with regard to what could a reflection on this tell us with regard to

what it means to be humanwhat it means to be human? ?

It appears that the human being comes into being equipped with a It appears that the human being comes into being equipped with a grammar of actiongrammar of action which cannot be acquired otherwise. which cannot be acquired otherwise.

Theatre making requires that same grammar of action to be Theatre making requires that same grammar of action to be reorganisedreorganised and and codifiedcodified in a manner in which it can be in a manner in which it can be knowingly refinedknowingly refined – a manner which then seems to allow it to be – a manner which then seems to allow it to be used creativelyused creatively and with an ever increasing dynamism. and with an ever increasing dynamism.

The cognitive sciences are providing new insights into the The cognitive sciences are providing new insights into the mechanisms that substantiate that grammar, allowing it to achieve mechanisms that substantiate that grammar, allowing it to achieve new syntactic heights that make new syntactic heights that make the word “imitation” the word “imitation” unsuitable as a description of human actionunsuitable as a description of human action ..

KeywordsKeywords: Human, Neuroscience, Theatre, Grammar, Creative: Human, Neuroscience, Theatre, Grammar, Creative

““In Theatre”In Theatre” andand “In Life”“In Life”

Stanislavski’s insight reversedStanislavski’s insight reversed

The collaboration between The collaboration between

theatre praxis and the cognitive sciencestheatre praxis and the cognitive sciences

The work of the theatre-makersThe work of the theatre-makerswho changed the face of performance in the 20th centurywho changed the face of performance in the 20th centurychanged the field of play profoundlychanged the field of play profoundly

E. G. Craig – “Human flesh cannot be disciplined.” E. G. Craig – “Human flesh cannot be disciplined.”

..

Which brought about a movement Which brought about a movement fromfrom

Writing Writing forfor theatre theatre

toto

Writing Writing aboutabout theatre theatre

•Art formArt form•CreativityCreativity•DisciplineDiscipline•TrainingTraining•AnalysisAnalysis•TerminologyTerminology• WritingWriting

There were previous instances of encounters There were previous instances of encounters between theatre and the (would be) “sciences”between theatre and the (would be) “sciences”

Physiognomy –Physiognomy –

LavaterLavater

BrowneBrowne

della Portadella Porta

However – However – things are no longer as they were thenthings are no longer as they were then..

1. Performance has, since then, 1. Performance has, since then, been recognised as been recognised as

an art forman art form..

An art form, moreover, An art form, moreover,

where the artist is, where the artist is, at the same timeat the same time,,

ArtistArtist, , locus of creative actlocus of creative act, , processprocess,,

““medium”medium” andand “objet d’art”“objet d’art”..

2. 2. More importantly, however, Performance More importantly, however, Performance has been recognised as the art form where has been recognised as the art form where that which is to be experienced & perceivedthat which is to be experienced & perceived

as as ARTART by the beholder by the beholder

is is

the very the very eventhoodeventhood of of

thethe doing doing..

HUMAN ACTION AS ARTHUMAN ACTION AS ART

In the theatre laboratory,In the theatre laboratory, the Performer, working scientifically as all artists work, the Performer, working scientifically as all artists work,

chooses to “repeat” his action;chooses to “repeat” his action; he chooses to he chooses to analyse it;analyse it; he chooses to fragment it into ever smaller, constituent he chooses to fragment it into ever smaller, constituent

elements;elements; he chooses to categorise it, catalogue it, name it;he chooses to categorise it, catalogue it, name it; he chooses to organise it in clear structures;he chooses to organise it in clear structures;

and then and then

he chooses to re-constitute it as a whole, working to restore he chooses to re-constitute it as a whole, working to restore to it the qualities which Action has “in life” – to it the qualities which Action has “in life” –

the flow, the unpredictability, the unexpected, the quality that the flow, the unpredictability, the unexpected, the quality that makes it proceed naturally from whatever preceded it and makes it proceed naturally from whatever preceded it and lead to whatever will follow it, the quality which unifies our lead to whatever will follow it, the quality which unifies our myriad, infinitely small actions into a sensible whole. myriad, infinitely small actions into a sensible whole.

Above all, howeverAbove all, however

3. 3. The theatre-maker, independently of whether The theatre-maker, independently of whether he is director-pedagogue or Performer,he is director-pedagogue or Performer, is now recognised as beingis now recognised as being

the “double artist”the “double artist”::

(i) (i) Theatre-makerTheatre-maker

ANDAND

(ii) (ii) AuthorAuthor, , writing literary and theoretical works writing literary and theoretical works about his own work as theatre-maker about his own work as theatre-maker

––

– – He questions himself, therefore.He questions himself, therefore.

He articulates his reflections upon his own process.He articulates his reflections upon his own process.

He shares his own self analysis with others.He shares his own self analysis with others.

• The Performer is “subject” & “object” of his own research. The Performer is “subject” & “object” of his own research.

• He is the transcending of both “subject” and “object”.He is the transcending of both “subject” and “object”.

• He is at once scientist and guinea-pig.He is at once scientist and guinea-pig.

Heinrich Von KleistHeinrich Von KleistIn our richest asset, In our richest asset,

that is, in our that is, in our consciousnessconsciousness,,

Von KleistVon Kleist finds, also, our deepest problem – finds, also, our deepest problem – “ “flaw” perhaps, one could even say.flaw” perhaps, one could even say.

Consciousness is iterative. It accentuates our capability to learn – Consciousness is iterative. It accentuates our capability to learn – indeed, it enables our learning to learn. AND YET – indeed, it enables our learning to learn. AND YET –

It pulls us out of the present. It pulls us out of the present.

It brings us to look at what was and at what will be.It brings us to look at what was and at what will be.

We thus move outside of the creative event – We thus move outside of the creative event –

which is markedly in the present.which is markedly in the present.

• The Middle Voice and the dawn of Greek Tragedy.The Middle Voice and the dawn of Greek Tragedy.

• Allowing the event to happen. Allowing the event to happen.

• ““The descent of Grace” (Grotowski). Being “Channel” (Grotowski). The descent of Grace” (Grotowski). Being “Channel” (Grotowski). The “Amen principle” (Ingemar Lindh). The “Amen principle” (Ingemar Lindh).

• Possibilities of intention. Deciding unknowingly on the basis of a Possibilities of intention. Deciding unknowingly on the basis of a process of deliberation which is engaged equally unknowingly.process of deliberation which is engaged equally unknowingly.

• Is this the posing of questions about free will?Is this the posing of questions about free will?

• Is it here, therefore, that the Performer’s creativity resides?Is it here, therefore, that the Performer’s creativity resides?

• Recognising creativity as, Recognising creativity as, in the Performerin the Performer, residing here, may , residing here, may be tantamount to recognising what it could be to be Human – be tantamount to recognising what it could be to be Human –

poised half way between animals and gods.poised half way between animals and gods.

• The work of the Performer upon himself seeks to heighten the The work of the Performer upon himself seeks to heighten the possibility of allowing action to proceed from an unawares, possibility of allowing action to proceed from an unawares, though highly refined, deliberation of a myriad intentions. Training though highly refined, deliberation of a myriad intentions. Training appears to be aiming for this unique way of Being.appears to be aiming for this unique way of Being.

• It may be tantamount to recognising what it may be that we may It may be tantamount to recognising what it may be that we may have forgotten.have forgotten.

• If, then, that were to prove to have been the case, seeking now to If, then, that were to prove to have been the case, seeking now to “recuperate it”, or, at any rate, working for it knowingly, could “recuperate it”, or, at any rate, working for it knowingly, could lead to an ulterior empowerment.lead to an ulterior empowerment.

““Performing”… Performing”…

in a scientific laboratoryin a scientific laboratory

What What cancan one ask of neuroscience? one ask of neuroscience?

What What cannotcannot one ask of neuroscience? one ask of neuroscience?

In the laboratory, the scientist is able to operationalise In the laboratory, the scientist is able to operationalise the the doerdoer, the , the mediummedium, and the , and the eventevent – –

that which is evaluated is thethat which is evaluated is the

outcomesoutcomes

of the performanceof the performance……

andand NOT NOT the performance itselfthe performance itself..

In scientific laboratories where animals are studied In scientific laboratories where animals are studied

it is difficult to operationalise human characteristics,it is difficult to operationalise human characteristics,

such as: such as: self appraisalself appraisal. .

There There areare “questions” that may be asked “questions” that may be asked in the context of rats performing tasks in in the context of rats performing tasks in laboratory conditions.laboratory conditions.

One cannot ask questions One cannot ask questions ofof a rat. a rat.

A rat can’t (bother to) ask itself questions.A rat can’t (bother to) ask itself questions.

Neither, for that matter, can it ask questions to a Neither, for that matter, can it ask questions to a scientist.scientist.

However,

In the case of the Performer, however, each time round,

the answer is an unconditional YES

Other considerations emerge, moreover.Other considerations emerge, moreover.

The relative The relative ININability of having personal ability of having personal experience of the experience of the DOINGSDOINGS of, say, of, say,

a musician…a musician…

BUT THENBUT THEN

The (more than relative!) The (more than relative!) ABILITYABILITY of having of having personal experience of the personal experience of the DOINGSDOINGS of the of the theatre Performer – his very human Actions.theatre Performer – his very human Actions.

Then there is the particular nature of Then there is the particular nature of

the act of DOING.the act of DOING.

The memory of Actions DONE seems to have a The memory of Actions DONE seems to have a privileged status.privileged status.

The act of DOING, in itself, enhances learning… The act of DOING, in itself, enhances learning… which in itself preserves memory.which in itself preserves memory.

Sucrose solution

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Fig 1: Consumption (mL) of the different sucrose solutions during the 1h test session, following the administration of intra-NAcc vehicle (ic Veh) or intra-NAcc Amphetamine (ic AMP) or intra-NAcc Haloperidol (ic HA L) or intra-NAcc Haloperidol and Amphetamine (ic HAL+AMP). Treatment effect - *** : p<0.001; n.s: non significant

GRAMMARSGRAMMARS

1.1. The innate grammar of speechThe innate grammar of speech

No mother can teach grammar to her child. No mother can teach grammar to her child. Born with the disposition for grammar, Born with the disposition for grammar, one acquires it further by assimilation, one acquires it further by assimilation, by “deuterolearning”.by “deuterolearning”.

Later, by (re)learning the grammar we (unknowingly) Later, by (re)learning the grammar we (unknowingly) know, we become able to knowingly refine it, know, we become able to knowingly refine it,

thus becoming able to (knowingly) try to write poetry thus becoming able to (knowingly) try to write poetry – something we could not do before.– something we could not do before.

2.2. Taking the Action of an other as one’s own ModelTaking the Action of an other as one’s own Model

We human beings are the only beingsWe human beings are the only beings who can go beyond taking as our model who can go beyond taking as our model the choice of an object which someone else makes, the choice of an object which someone else makes, or the choice of a locus.or the choice of a locus.

Most animals can do that.Most animals can do that.

We Human Beings can go BEYOND that, however – We Human Beings can go BEYOND that, however – We are able to take as a model the We are able to take as a model the ACTION OF ANOTHERACTION OF ANOTHER – – and we are unique in being able to do so.and we are unique in being able to do so.

The innate grammar of ActionThe innate grammar of Action

One is not taught how to touch one’s own face.One is not taught how to touch one’s own face. Quite as in speech, one is born with the disposition for Quite as in speech, one is born with the disposition for action, and in the same manner, one acquires it further action, and in the same manner, one acquires it further by assimilation.by assimilation.

In the same manner, then, via Performance training, one In the same manner, then, via Performance training, one can (re)learn the grammar one (unknowingly) knows – can (re)learn the grammar one (unknowingly) knows – categorising it, analysing it, reorganising it, refining it…categorising it, analysing it, reorganising it, refining it…

until one controls it to such a point as to arrive at being until one controls it to such a point as to arrive at being poetic with it, both in theatre and in life.poetic with it, both in theatre and in life.

It is for this purpose that the Performer trains.It is for this purpose that the Performer trains.

With his iterative work upon himself, With his iterative work upon himself, he seeks to intervene upon as many as possible he seeks to intervene upon as many as possible

of the faculties he knows he operates.of the faculties he knows he operates.

He seeks to potentiate as much as possible He seeks to potentiate as much as possible of what it is of what it is

that makes him Human.that makes him Human.

It is for this reason that he provides an ideal locus It is for this reason that he provides an ideal locus for science to inquire into for science to inquire into

what it means to be humanwhat it means to be human..

BRAIN PLASTICITY BRAIN PLASTICITY

The Holistic DimensionThe Holistic Dimension