English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

The paper continues the topic of applications of the methodology of generalized physicality, which goes back to the concept of quantum synergetic anthropology, elaborated in detail in the previous parts of the triptych. Ontologies of states (functional bodies and subteles of generalized corporeality) and temporal ontologies are considered on the material of the theatrical play of actors. An isomorphism of a well-known musical notation and representation of a changing anthropological profile in the form of a chord of simultaneously activated "sounding" states of the actor is constructed.  The relevance of such a musical metaphor, an analogy of the freedom of acting improvisation, as an anthropological jazz inherent in any performer, albeit to varying degrees, is discussed. The classical manner has less variability than, in fact, jazz improvisation. В   Parallels of such performances are drawn with the works of classics of theater directing, philosophy of play and communication of musicologists: K. S. Stanislavsky, A. A. Vasiliev, B. Latour, J. Huizinga, I. E. Berendt.In fact, a certain language of interpretation of acting is proposed with the help of dynamic schemes for describing what is happening during the game. If these schemes are adequate to the stage reality, which we tried to prove, then they may well be used in the preparation of actors, staging performances, etc. In fact, a new psychotechnics is being created that allows changing the available capabilities of acting technique, replenishing its tools. In addition, this kind of notational representation of actors' parts allows you to archive and decipher the director's idea in a fairly universal way.	

Quantum-synergetic ontology of generalized corporeality (Part III): psychosemantic language of theater, anthropological jazz