Emily+Willoughby+RP+Post+2

1.) How does one control emotions? To what extent can emotions be controlled? If emotions are controlled, how is the person changed? For the better? Or for the worse? How important are emotions to humans? Should they be controlled in the first place?

2.) Staging Nothing: //Hamlet// and Cognitive Science

3.) Amy Cook, //Hamlet// New Edition, Bloom's Modern Critical Interpretations.

4.) found at Facts On File, Bloom's Literature **-->** **[]**

5.) data base, Facts On File, Bloom's Literature, 5/26/14

6.) S- Emotions present during plays, on stage, or while reading a book. Basically the study of emotions when the mind enters a story. Also, what is nothing when put into perspective of Shakespeare's Hamlet? O- the debate on how literature is evolutionarily adaptable A- Students, Professors, people interested in theater, emotions occurring during a suspension of disbelief, or how emotions work in the human brain P- to report the findings on how emotions in Hamlet affect it's audience and it's actors, and why such emotions are evoked S-Amy Cook, Shakespeare, Ellen Spolsky,John Tooby, Leda Cosmides, George Lakoff, Mark Johnson, Bert States, Eva Schaper, Norman Holland, V. S. Ramachandran, Elly Konijn, Aristotle, Antonio R Damasio Tone- scholarly, strictly informative, professional

7.) In this source, the emotions that come forth from fictional pieces are studied, as well as the reasons for their existence. In order for a person to feel emotion for a fictional scene on a stage, they must create a suspension of disbelief before they can be touched emotionally. Meanwhile, the actors on stage must gain control over their emotions of a nervous actor on stage as well as portray the emotions of their character by putting on a face that matches the feeling.

8.) Theater teaches us to see and feel for nothing. Theater depends upon the brain's ability to reconstruct the emotions associated with certain events. In its imitation of an action on stage, theater creates an imitation of an action in the brain that in turn creates emotion. Humans do not need to experience something in order to have an emotional reaction to it

9.) I suppose that I am mostly convinced by this author's argument, while I don't necessarily agree with some of the scientist Cook references. But what she concludes I understand and believe, and I can easily see why she came to her conclusions.

10.) The actor and character have different feelings, merged perhaps by an expression of feeling; the emotional goal of theater—the experience that suspension of disbelief is called upon to explain—is the ability of an audience member to have the same feelings as the character, midwifed through the performance of the actor. He argues that when we stop paying attention to our bodies, our plans, etc., as we do in a theater or when reading a book, we cut off the connection between our emotions and our prefrontal cortex. We still feel the emotions, but they no longer go to the prefrontal cortex for reality testing and planning. The planning that is done in the prefrontal cortex requires that we "imagine a future and a past for an object, neither of which is true now … And as long as we do not plan to move while reading a book or watching a play or movie, we do not test the reality of what we are perceiving. Thus, we willingly suspend disbelief.