A priest with Juan Batista de Anzas expedition in 1776 named a wild creek where the group camped after St. Joseph of Cupertino; Italy. A village known as Westside adopted the name in 1904 as it grew up by that stream; now Stevens Creek; near the road that is now De Anza Boulevard. Like its Italian namesake; Cupertino once had wineries; and vineyards striped its foothills and flatlands. Later vast orchards created an annual blizzard of spring blossoms; earning it the name Valley of Hearts Delight. The railroad came to carry those crops to market; and the electric trolley extended to connect Cupertinos first housing tract; Monte Vista. When the postwar building boom came; Cupertino preserved its independence through incorporation; but that bold move would not stop the wave of modernization that would soon roll over the valley.
#421746 in eBooks 2012-09-10 2012-09-10File Name: B009C68T8S
Review
1 of 1 people found the following review helpful. Shame on you if you dont read it.By David IhrigThere have been a handful of books in the last decade that have addressed the need for an update in contemporary actors training based on todays science. The author. Rick Kemp not only clearly states the need for change. he lists the reasons. and then gives the actor/practitioner ample solutions to consider. Every solution is diligently researched and is born of credible contemporary science. Embodied Acting is the most articulate writing available that addresses the real and concrete challenges of the craft of acting. For example. Mr. Kemp states. "The difference between the way that the brain processes written and spoken language is at the heart of the challenge that actors face in bringing a script to life." Bravo! Most actors arent even aware of the difference much less have the ability to create a personal technique that enables them to move from one brain process to the another. Mr Kemp offers a simple solution for actors to analyze and digest a script so the actors performance is grounded in realism by embodying the natural processes of speaking. Brilliant!The bulk of this book is dedicated to illuminating what works about traditional training methodologies from practitioners such as Stanislavski. Checkhov. and Lecoq based on cognitive sciences current understanding of human neurology.However. I believe this books contribution to acting theory goes beyond that.For years acting teachers have been regurgitating the information of their predecessors without regard to its accuracy. If we look at the credentials required to teach acting. how many of those requirements qualify an instructor to teach anything about authentic human behavior? This book may very well be the stepping stone for many instructors (and actors) who want to take the next step towards embracing truly competent and effective actors training. The principles of this book draw a line in the sand that separates the snake oil salesman practitioners that continue to push the artificial and ineffective ideas based on 100-year-old-psychology. and those that teach concepts grounded in contemporary cognitive theories accepted by the scientists of today.Embodied Acting is required reading for conscientious dramatic artists.0 of 0 people found the following review helpful. Four StarsBy MSGreat groundbreaking work0 of 0 people found the following review helpful. The book is exactly what one hopes to find when an excellent writer and thinker goes on an interdisciplinaryBy Arne DietrichEmbodied cognition is now a well-established paradigm and explanatory model in neuroscience and cognitive science. Applying it to theater. acting and artistic performance is not only needed but. more importantly. an entirely logical extension of the experimental results neuroscientists and cognitive scientists are turning up. The book is exactly what one hopes to find when an excellent writer and thinker goes on an interdisciplinary. joining-the-dots journey and makes one see connections that were not explicit before. The book is wonderful. and I recommend this book not only for neuroscientists (to see what their work might mean in the real world) but also to artists (to see what neuroscience and cognitive science might mean to their craft).
