By Telory Davies Arendell
It is a booklet should you have a stake in and interest concerning the dating among autism and the degree. functionality right here covers theater to treatment, movie to biography, paintings and past. when you are a theater or movie critic, a speech or drama therapist, the next schooling expert or designated schooling teacher, a dad or mum of a kid at the autism spectrum or somebody with ASD attracted to theatre, this publication may well carry targeted worth for you. This paintings is intended to hide a number of matters and achieve out to audiences, critics, pros and fogeys who need to know extra approximately functionality representations of autism. One message reverberates during the publication: each one autistic individual illustrates diversified methods to and views on existence. We turn into richer whenever we come to appreciate those new views and function powerfully complements our figuring out of them. Autism Spectrum problems comprise replacement modes of processing details, recording photos, discoursing with others, and analyzing social scenes. during this dialog, functionality can functionality as an analytical lens, a representational area, a method of perceptual innovation, and a healing device. The definition of autism as a disease has advanced from its first prognosis within the Nineteen Forties to our present body of reference with a number of key revisions. those 3 categories-interaction, communique, and perseveration-underlie any released research of these at the autism spectrum. What has shifted in recent times is an method of incapacity that positions autism as a social development instead of a scientific challenge.
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Additional info for The Autistic Stage: How Cognitive Disability Changed 20th-Century Performance
10 For Baggs, representation itself is tied to spatial definition. All discourse is affected by an ability to spatialize. If linguistic concepts cannot be spatialized in retentive ways, Baggs cannot command these concepts. Her experience with language connects with Robert Wilson’s creative process in the spatial mapping of conceptual and linguistic thinking. When asked about his work (either in retrospect or with a current project), Wilson’s first response is to find paper and pencil to draw pictures of his ideas.
His construction of action sequences is often non-causal, involving instead an atemporal sequence of visual images. 16 Stage images are repeated in many of Wilson’s productions in lieu of causality, and their repetition becomes the only structural marker of continuity. Does this mean that Wilson creates all of his productions from an experiential knowledge of autistic behavior and perception? No, and I would never go so far as to argue that extreme. However, there are similarities, 8 THINKING SPATIALLY, SPEAKING VISUALLY homologies if you will, between this director’s methods and aspects of Knowles’s cognitive processes.
Pictures, sounds, and movement choreographed to look naturally mechanical are all texts of various bodies. Some of these body-texts are highly precise, some are naturally awkward, some display awkward precision and/or precise awkwardness. Room is made for all of these modes. When Wilson slows these movements down on stage, all motion takes on a ritualistic beauty. Entertainment is impossibly fused with purpose, and the simplicity of slow motion becomes incredibly complex with the closer scrutiny that slower movement demands.