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This is the Part II that follows after "On the Hidden Potential of Public Solitude, Part I: Ivan Vyskočil and his Theatre as Encounter." As promised, we show how Stanislavsky's public solitude and creative state, elaborated by Ivan Vyskočil (towards a dialogical theatre as encounter), meet with the instant composition practice of Julyen Hamilton. We see the common points in the making on the stage, which requires a simultaneous functioning of different kinds of attention: in their creative state in the condition of public solitude, the performer works from the positions of the actor, the viewer, and the author at the same time. Stanislavsky, Vyskočil, and Hamilton were/are all performing arts practitioners, moreover, theorizing practitioners, and pedagogues. In this Part II, we therefore shift our focus towards pedagogy and inquire into ways multiple attention can be cultivated in students-performers. This study makes part of our practice-based research, in which we reflect on our pedagogical experience at the Academy of Performing Arts in Prague and the University of Neuchâtel. We build on Vyskočil's view of pedagogues as performers in public situations of education, pointing out that even pedagogues can work-teach as actors, viewers, and authors at the same time; teaching takes place in the present moment with students, with the teacher being in the creative state, instant composition, and theatre as encounter. We reflect on our experience using the current streams of dialogicality and embodiment in psychology and education, entering a dialogue with psychologists studying attention and embodied learning.
Rais et al. (Sun,) studied this question.