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Theatre, Performance and Cognition introduces readers to the key debates, areas of research, and applications of the cognitive sciences to the humanities, and to theatre and performance in particular. It features the most exciting work being done at the intersection of theatre and cognitive science, containing both selected scientific studies that have been influential in the field, each introduced and contextualised by the editors, together with related scholarship from the field of theatre and performance that demonstrates some of the applications of the cognitive sciences to actor training, the rehearsal room and the realm of performance more generally.The three sections consider the principal areas of research and application in this interdisciplinary field, starting with a focus on language and meaning-making in which Shakespeare''s work and Tom Stoppard''s Arcadia are considered. In the second part which focuses on the body, chapters consider applications for actor and dance training, while the third part focuses on dynamic ecologies, of which the body is a part.>
Inhaltsverzeichnis
List of Figures
List of Contributors
Acknowledgements
Introduction Rhonda Blair and Amy Cook
Part 1 Cognitive Linguistics, Theatre and Performance
1 Multimodality and Theatre: Material Objects, Bodies and Language, by Barbara Dancygier (The University of British Columbia, Canada)
2 Doth Not Brutus Bootless Kneel? Kneeling, Cognition and Destructive Plasticity in Shakespeare's
Julius Caesar, by Laura Seymour (Birkbeck, University of London, UK)
3 Performance, Irony and Viewpoint in Language, by Vera Tobin (Case Western Reserve University, USA
A Response: The Performing Mind, by Mark Turner (Case Western Reserve University, USA)
Part 2 Bodies in Performance
4 The Olympic Actor: Improving Actor Training and Performance Through Sports Psychology, by Neal Utterback (Juniata College, USA)
5 Becoming Elsewhere: ArtsCross and the (Re)location of Performer Cognition, by Edward C. Warburton (University of California, Santa Cruz, USA)
6 Training, Insight and Intuition in Creative Flow, by Christopher J. Jackman (University of Toronto, Canada)
A Response: The Body in Mind, by Catherine J. Stevens (University of Western Sydney, Australia)
Part 3 Situated Cognition and Dynamic Systems: Cognitive Ecologies
7 Distributed Cognition, Mindful Bodies and the Arts of Acting, by Evelyn B. Tribble (University of Otago, New Zealand)
8 The Historical Body Map: Cultural Pressures on Embodied Cognition, by Sarah E. McCarroll (Georgia Southern University, USA)
9 Another Way of Looking: Reflexive Technologies and HowcThey Change the World, by Matt Hayler (University of Birmingham, UK)
A Response: Mapping the Prenoetic Dynamics of Performance, by Shaun Gallagher (University of Memphis, USA, and University of Wollongong, Australia)
After Words
Appendix: Abstracts of a Few Influential References
Notes
References
Index
Über den Autor / die Autorin
Rhonda Blair, Professor at Southern Methodist University in Dallas, TX, USA, is the author of
The Actor, Image, and Action: Acting and Cognitive Neuroscience (2008), and essays in
Theatre Topics, TDR, the
Journal of Dramatic Theory and Criticism, among others, and several edited volumes. She was president of the American Society for Theatre Research, 2009-2012.
Amy Cook, Associate Professor of Theatre Arts and English at Stony Brook University, New York, USA, is the author of
Shakespearean Neuroplay: Reinvigorating the Study of Dramatic Texts and Performance through Cognitive Science, (2010) and essays in, among others,
Theatre Journal,
TDR,
SubStance, the
Journal of Dramatic Theory and Criticism,
Oxford Handbook of Dance and Theatre, the
Oxford Handbook of 4E Cognition (forthcoming). She was the co-chair of the Working Group in Cognitive Science and Performance for American Society for Theatre Research from 2010-2014.
