![]() It looks at the nature of great, nasty, and the regulation, in a sweeping story that expounds upon the history of Italy, structures of Paris, politics, ethical philosophy, law, justice, religion, and the varieties and nature of passionate and familial like. Principally focusing on the problems of the protagonistéx-convict Jean VaIjeanwho looks for to redeem himself, the story also investigates the impact of Valjeans activities for the benefit of social commentary. The results contribute to the possibility to develop methods of theater therapeutic intervention for the management of aggressive behaviors, highlight the responsibility generated by the representation of aggressive actions towards actors and spectators, and argue the need for the development of a new drama, beyond the scripts of punishment, with the role of creating a sense of the community and the common human condition.It comes after the lives and interactions of many French characters over a twenty year period in the early 19tl hundred years that begins in the 12 months of Napoleons last defeat. The latter observation corresponds to Elbert's (2017) two pedal model of aggression (2017), according to which the repetition of aggressive behaviors leads to the transformation in time of the negative emotions, that initially accompany them, in positive emotions. At the psychological level, the representation of violent acts has increased the level of anxiety and depression of actors and viewers, and, more importantly, some of the actors who have performed violent actions in the experiment have reported positive emotions about them. Neuro-physiological results confirm the hypothesis that observing a conflicting or aggressive action creates a special attention to the approach avoidance complex necessary for survival in potentially dangerous situations. In the doctoral research The Spectacle of Violence - from Hypnotic Power to Social Responsibility, we highlighted the effects of the representation of violent action at the psycho-neurophysiological level, having as tools questionnaires of evaluation, EEG and memory tasks. Representation of violent actions is a basic component of conflict-based dramaturgy. ![]()
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