Jacobs Emmanuel, Hallemans Ann, Gielen Jan, Van den Dries Luc, Van Moorsel Annouk, Rutgeerts Jonas, Roussel Nathalie A
1 University of Antwerp.
2 Artesis Plantijn Hogeschool Antwerpen.
Motor Control. 2018 Apr 1;22(2):134-148. doi: 10.1123/mc.2017-0005. Epub 2017 Sep 27.
Theater performers, more than common actors, experience high physical loadings. This study aimed at analyzing the motor behavior of novice performers (dancers/actors who were introduced to the acting method of Jan Fabre) by investigating the kinematics of a physical acting exercise in a prospective study. Two measurement sessions were organized: before and after the novice performers (N = 13) took part in seven workshops. Total body kinematics were registered using a three-dimensional motion capture system. Using a principal component analysis, six factors were disseminated out of 30 kinematic parameters: Pelvic Motion, Speed of Progression, Lower Limb Position, Foot Motion, Lower Limb Motion, and Trunk Posture. Although no main effect of training was found for any of the factors (.429 < p < .964), Trunk Posture showed a higher consistency after the workshops. This study succeeded in providing insights in the motor behavior of theater performers and revealed recognizable features of motor learning.
与普通演员相比，戏剧表演者承受着更高的身体负荷。本研究旨在通过一项前瞻性研究中对一项身体表演练习的运动学进行调查，分析新手表演者（引入扬·法布雷表演方法的舞者/演员）的运动行为。组织了两次测量环节：新手表演者（N = 13）参加七个工作坊之前和之后。使用三维运动捕捉系统记录全身运动学数据。通过主成分分析，从30个运动学参数中提取出六个因素：骨盆运动、前进速度、下肢位置、足部运动、下肢运动和躯干姿势。尽管在任何因素上均未发现训练的主要效应（.429 < p <.964），但工作坊之后躯干姿势显示出更高的一致性。本研究成功地深入了解了戏剧表演者的运动行为，并揭示了运动学习的可识别特征。
