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This is the first textbook designed for students, practitioners and
scholars of the performing arts who are curious about the power of
the cognitive sciences to throw light on the processes of
performance. It equips readers with a clear understanding of how
research in cognitive neuroscience has illuminated and expanded
traditional approaches to thinking about topics such as the
performer, the spectator, space and time, culture, and the text.
Each chapter considers four layers of performance: conventional
forms of theatre, performance art, and everyday life, offering an
expansive vision of the impact of the cognitive sciences on
performance in the widest sense. Written in an approachable style,
An Introduction to Theatre, Performance and the Cognitive Sciences
weaves together case studies of a wide range of performances with
scientific evidence and post-structural theory. Artists such as
Robert Wilson, Societas Raffaello Sanzio, Ariane Mnouchkine,
Bertolt Brecht, and Antonin Artaud are brought into conversation
with theories of Gilles Deleuze, Shaun Gallagher, Alva Noe, Tim
Ingold and the science of V. S. Ramachandran, Vittorio Gallese, and
Antonio Damasio. John Lutterbie offers a complex understanding of
not only the act of performing but the forces that mark the place
of theatre in contemporary society. In drawing on a variety of
scientific articles, Lutterbie provides readers with an accessible
account of significant research in areas in the field and reveals
how the sciences can help us understand the experience of art.
Volume 2 of Identity, Culture, and the Science Performance
investigates performances that illuminate the hidden recesses and
inscrutable mysteries of the natural and human-made worlds. While
the first volume of this series prioritizes public, outward-facing,
and activist work at the intersections of art and science, this
volume considers performances of localized, concealed,
inexplicable, or intimate phenomena, from the closed-door
procedures of biomedical trials to the impacts of climate change.
Interdisciplinary science dialogues have long been shaped by the
cultures and identity communities in which they arise and
circulate. The essays, interviews, and creative works included here
not only expose the historical and contemporary harms created by
exclusive and prejudicial processes in art and science, they also
contemplate how a diverse, inclusive body of science performers
might help deepen how we “see” the unseen forces of our
universe, contribute to novel scientific understandings, and
disrupt disciplinary hierarchies long dominated by white men of
privilege. This collection expands upon extant scholarship on
theatre and science by foregrounding identity as a crucial thematic
and representational element within past and present performances
of science. Featuring interviews with science-integrative artists
such as Lauren Gundersen (The Half-Life of Marie Curie) and Kim
TallBear (Native American DNA) as well as creative works by
playwrights Chantal Bilodeau and Claudia Barnett, among others,
Identity, Culture, and the Science Performance, Volume 2: From the
Curious to the Quantum proposes shifts in perspective and procedure
necessary to establish and maintain sustainable cultures of science
and art.
This international collection brings together scientists, scholars
and artist-researchers to explore the cognition of memory through
the performing arts and examine artistic strategies that target
cognitive processes of memory. The strongly embodied and highly
trained memory systems of performing artists render artistic
practice a rich context for understanding how memory is formed,
utilized and adapted through interaction with others, instruments
and environments. Using experimental, interpretive and
Practice-as-Research methods that bridge disciplines, the authors
provide overview chapters and case studies of subjects such as: *
collectively and environmentally distributed memory in the
performing arts; * autobiographical memory triggers in performance
creation and reception; * the journey from learning to memory in
performance training; * the relationship between memory, awareness
and creative spontaneity, and * memorization and embodied or
structural analysis of scores and scripts. This volume provides an
unprecedented resource for scientists, scholars, artists, teachers
and students looking for insight into the cognition of memory in
the arts, strategies of learning and performance, and
interdisciplinary research methodology.
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.
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.
This edited collection focuses on performance practice and analysis
that engages with medical and biomedical sciences. After locating
the 'biologization' of theatre at the turn of the twentieth
century, it examines a range of contemporary practices that respond
to understandings of the human body as revealed by biomedical
science. In bringing together a variety of analytical perspectives,
the book draws on scholars, scientists, artists and practices that
are at the forefront of current creative, scientific and academic
research. Its exploration of the dynamics and exchange between
performance and medicine will stimulate a widening of the debate
around key issues such as subjectivity, patient narratives,
identity, embodiment, agency, medical ethics, health and illness.
In focusing on an interdisciplinary understanding of performance,
the book examines the potential of performance and theatre to
intervene in, shape, inform and extend vital debates around
biomedical knowledge and practice in the contemporary moment.
This is the first volume to provide a detailed introduction to some
of the main areas of research and practice in the interdisciplinary
field of art and neuroscience. With contributions from
neuroscientists, theatre scholars and artists from seven countries,
it offers a rich and rigorous array of perspectives as a
springboard to further exploration. Divided into four parts, each
prefaced by an expert editorial introduction, it examines: *
Theatre as a space of relationships: a neurocognitive perspective *
The spectator's performative experience and 'embodied theatrology'
* The complexity of theatre and human cognition * Interdisciplinary
perspectives on applied performance Each part includes
contributions from international pioneers of interdisciplinarity in
theatre scholarship, and from neuroscientists of world-renown
researching the physiology of action, the mirror neuron mechanism,
action perception, space perception, empathy and intersubjectivity.
While illustrating the remarkable growth of interest in the
performing arts for cognitive neuroscience, this volume also
reveals the extraordinary richness of exchange and debate born out
of different approaches to the topics.
This book explores new developments in the dialogues between
science and theatre and offers an introduction to a fast-expanding
area of research and practice.The cognitive revolution in the
humanities is creating new insights into the audience experience,
performance processes and training. Scientists are collaborating
with artists to investigate how our brains and bodies engage with
performance to create new understanding of perception, emotion,
imagination and empathy. Divided into four parts, each introduced
by an expert editorial from leading researchers in the field, this
edited volume offers readers an understanding of some of the main
areas of collaboration and research: 1. Dances with Science 2.
Touching Texts and Embodied Performance 3. The Multimodal Actor 4.
Affecting Audiences Throughout its history theatre has provided
exciting and accessible stagings of science, while contemporary
practitioners are increasingly working with scientific and medical
material. As Honour Bayes reported in the Guardian in 2011, the
relationships between theatre, science and performance are
'exciting, explosive and unexpected'. Affective Performance and
Cognitive Science charts new directions in the relations between
disciplines, exploring how science and theatre can impact upon each
other with reference to training, drama texts, performance and
spectatorship. The book assesses the current state of play in this
interdisciplinary field, facilitating cross disciplinary exchange
and preparing the way for future studies.
Identity, Culture, and the Science Performance, Volume 1: From the
Lab to the Streets is the first of two volumes dedicated to the
diverse sociocultural work of science-oriented performance. A
dynamic volume of scholarly essays, interviews with scientists and
artists, and creative entries, it examines explicitly public-facing
science performances that operate within and for specialist and
non-specialist populations. The book’s chapters trace the
theatrical and ethical contours of live science events, re-enact
historical stagings of scientific expertise, and demonstrate the
pedagogical and activist potentials in performing science in
community settings. Alongside the scholarly chapters, From the Lab
to the Streets features creative work by contemporary
science-integrative artists and interviews with popular science
communicators Sahana Srinivasan (host of Netflix’s Brainchild)
and Raven Baxter (“Raven the Science Maven”) and artists from
performance ensembles The Olimpias and Superhero Clubhouse. In
exploring the science performance as a vital but flawed method of
public engagement, it offers a critique of the racist, ableist,
sexist, and heteronormative ideologies prevalent across the history
of science, as well as highlighting science performances that
challenge and redress these ideologies. Along with its
complementary volume From the Curious to the Quantum, this book
documents the varied ways in which identity categories and cultural
constructs are formed and reformed through science performances.
Through an examination of examples from performance, museum
displays and popular culture that stage the body as a specimen,
Performing Specimens maps the relations between these performative
acts and the medical practices of collecting, storing and showing
specimens in a variety of modes and contexts. Moving from an
examination of the medical and historical contexts of specimen
display in the museum and the anatomy theatre to contemporary
performance, Gianna Bouchard engages with examples from live art,
bio-art, popular culture and theatre that stage the performer's
body as a specimen. It examines the ethical relationships involved
in these particular moments of display - both in the staging and in
how we look at the specimen body. This is a landmark study for
those working in the fields of theatre, performance and the medical
humanities, with a specific focus on the ethics of display and the
ethics of spectatorship, emerging at the intersection of
performance and medicine. Among the works and examples considered
are 18th-century anatomical waxes from the Museo di Storia Naturale
la Specola in Florence, Italy, and their contemporary version in
the Bodyworlds exhibition of 'plastinated' corpses; organ retention
scandals; current legislation, such as the Human Tissue Act 2004;
the work of performance company Clod Ensemble and Stein|Holum
Projects, the performer and disability activist, Mat Fraser and
live artist, Martin O'Brien, alongside visual artists Helen Pynor
and Peta Clancy , artists Peggy Shaw and ORLAN.
This is the first textbook designed for students, practitioners and
scholars of the performing arts who are curious about the power of
the cognitive sciences to throw light on the processes of
performance. It equips readers with a clear understanding of how
research in cognitive neuroscience has illuminated and expanded
traditional approaches to thinking about topics such as the
performer, the spectator, space and time, culture, and the text.
Each chapter considers four layers of performance: conventional
forms of theatre, performance art, and everyday life, offering an
expansive vision of the impact of the cognitive sciences on
performance in the widest sense. Written in an approachable style,
An Introduction to Theatre, Performance and the Cognitive Sciences
weaves together case studies of a wide range of performances with
scientific evidence and post-structural theory. Artists such as
Robert Wilson, Societas Raffaello Sanzio, Ariane Mnouchkine,
Bertolt Brecht, and Antonin Artaud are brought into conversation
with theories of Gilles Deleuze, Shaun Gallagher, Alva Noe, Tim
Ingold and the science of V. S. Ramachandran, Vittorio Gallese, and
Antonio Damasio. John Lutterbie offers a complex understanding of
not only the act of performing but the forces that mark the place
of theatre in contemporary society. In drawing on a variety of
scientific articles, Lutterbie provides readers with an accessible
account of significant research in areas in the field and reveals
how the sciences can help us understand the experience of art.
This book explores new developments in the dialogues between
science and theatre and offers an introduction to a fast-expanding
area of research and practice.The cognitive revolution in the
humanities is creating new insights into the audience experience,
performance processes and training. Scientists are collaborating
with artists to investigate how our brains and bodies engage with
performance to create new understanding of perception, emotion,
imagination and empathy. Divided into four parts, each introduced
by an expert editorial from leading researchers in the field, this
edited volume offers readers an understanding of some of the main
areas of collaboration and research: 1. Dances with Science 2.
Touching Texts and Embodied Performance 3. The Multimodal Actor 4.
Affecting Audiences Throughout its history theatre has provided
exciting and accessible stagings of science, while contemporary
practitioners are increasingly working with scientific and medical
material. As Honour Bayes reported in the Guardian in 2011, the
relationships between theatre, science and performance are
'exciting, explosive and unexpected'. Affective Performance and
Cognitive Science charts new directions in the relations between
disciplines, exploring how science and theatre can impact upon each
other with reference to training, drama texts, performance and
spectatorship. The book assesses the current state of play in this
interdisciplinary field, facilitating cross disciplinary exchange
and preparing the way for future studies.
Identity, Culture, and the Science Performance, Volume 1: From the
Lab to the Streets is the first of two volumes dedicated to the
diverse sociocultural work of science-oriented performance. A
dynamic volume of scholarly essays, interviews with scientists and
artists, and creative entries, it examines explicitly public-facing
science performances that operate within and for specialist and
non-specialist populations. The book's chapters trace the
theatrical and ethical contours of live science events, re-enact
historical stagings of scientific expertise, and demonstrate the
pedagogical and activist potentials in performing science in
community settings. Alongside the scholarly chapters, From the Lab
to the Streets features creative work by contemporary
science-integrative artists and interviews with popular science
communicators Sahana Srinivasan (host of Netflix's Brainchild) and
Raven Baxter ("Raven the Science Maven") and artists from
performance ensembles The Olimpias and Superhero Clubhouse. In
exploring the science performance as a vital but flawed method of
public engagement, it offers a critique of the racist, ableist,
sexist, and heteronormative ideologies prevalent across the history
of science, as well as highlighting science performances that
challenge and redress these ideologies. Along with its
complementary volume From the Curious to the Quantum, this book
documents the varied ways in which identity categories and cultural
constructs are formed and reformed through science performances.
This book is about joint intelligence in action. It brings together
scholarship in performance studies, cognitive science, sociology,
literature, anthropology, psychology, architecture, philosophy and
sport science to ask how tightly knit collaboration works.
Contributors apply innovative methodologies to detailed case
studies of martial arts, social interaction, freediving,
site-specific artworks, Body Weather, human-AI music composition,
Front-of-House at Shakespeare's Globe, acrobatics and failing at
handstands. In each investigation, performance and theory are
mutually revealing, informative and captivating. Short chapters
fall into thematic clusters exploring complex ecologies of skill,
collaborative learning and the microstructure of embodied
coordination, followed by commentaries from leading scholars in
performance studies and cognitive science. Each contribution
highlights unique features of the performance ecology, equipping
performance makers, students and researchers with the theoretical,
methodological and practical inspiration to delve deeper into their
own embodied practices and critical thinking.
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