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.
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 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.
Author: B. McConachie
Engaging Audiences asks what cognitive science can teach scholars of theatre studies about spectator response in the theatre. Bruce McConachie introduces insights from neuroscience and evolutionary theory to examine the dynamics of conscious attention, empathy and memory in theatre goers.
Author: Rick Kemp
A pragmatic intervention in the study of how recent discoveries within cognitive science can and should be applied to performance. Drawing on his experience the author interrogates the key cognitive activities involved in performance inc non-verbal communication; thought, speech, and gesture relationships; empathy, imagination, and emotion.
Using the cognitive sciences, Lutterbie employs dynamic systems theory as a foundation and integrates recent discoveries in neuroscience and cognitive psychology in his examination of acting theory.
Performance and Cognition
Author: Bruce McConachie, F. Elizabeth Hart
This anthology is the first of its kind. In addition to opening up fresh perspectives on theatre studies – with applications for dramatic criticism, performance analysis, acting practice, audience response, theatre history, and other important areas – the book sets the agenda for future work, helping to map the emergence of this new approach. Following a comprehensive introduction, the contributors examine: the interfaces between cognitive studies and Lacanian psychoanalysis, phenomenology and communication theory different ideas from cognitive studies that open up the meanings of several plays the process of acting and the work of Antonio Damasio theatrical response: the dynamics of perception, and the riots that greeted the 1907 production of The Playboy of the Western World. This original and authoritative work will be attractive to scholars and graduate students of drama, theatre, and performance.
In the first comprehensive study of the relationship between music and language from the standpoint of cognitive neuroscience, Aniruddh D. Patel challenges the widespread belief that music and language are processed independently. Since Plato's time, the relationship between music and language has attracted interest and debate from a wide range of thinkers. Recently, scientific research on this topic has been growing rapidly, as scholars from diverse disciplines, including linguistics, cognitive science, music cognition, and neuroscience are drawn to the music-language interface as one way to explore the extent to which different mental abilities are processed by separate brain mechanisms. Accordingly, the relevant data and theories have been spread across a range of disciplines. This volume provides the first synthesis, arguing that music and language share deep and critical connections, and that comparative research provides a powerful way to study the cognitive and neural mechanisms underlying these uniquely human abilities. Winner of the 2008 ASCAP Deems Taylor Award.
Cognition and Motivation
Author: Shulamith Kreitler
Publisher: Cambridge University Press
This collection examines the many internal and external factors affecting cognitive processes. Editor Shulamith Kreitler brings together a wide range of international contributors to produce an outstanding assessment of recent research in the field. These contributions go beyond the standard approach of examining the effects of motivation and emotion to consider the contextual factors that may influence cognition. These broad and varied factors include personality, genetics, mental health, biological evolution, culture, and social context. By contextualizing cognition, this volume draws out the practical applications of theoretical cognitive research while bringing separate areas of scholarship into meaningful dialogue.
This interdisciplinary volume features contributions from researchers in the fields of psychology, neuroscience, statistics, computer science, and physics. State-of-the-art techniques and applications used to analyze data obtained from studies in cognition, emotion, and electrophysiology are reviewed along with techniques for modeling in real time and for examining lifespan cognitive changes, for conceptualizing change using item response, nonparametric and hierarchical models, and control theory-inspired techniques for deriving diagnoses in medical and psychotherapeutic settings. The syntax for running the analyses presented in the book is provided on the Psychology Press site. Most of the programs are written in R while others are for Matlab, SAS, Win-BUGS, and DyFA. Readers will appreciate a review of the latest methodological techniques developed in the last few years. Highlights include an examination of: Statistical and mathematical modeling techniques for the analysis of brain imaging such as EEGs, fMRIs, and other neuroscience data Dynamic modeling techniques for intensive repeated measurement data Panel modeling techniques for fewer time points data State-space modeling techniques for psychological data Techniques used to analyze reaction time data. Each chapter features an introductory overview of the techniques needed to understand the chapter, a summary, and numerous examples. Each self-contained chapter can be read on its own and in any order. Divided into three major sections, the book examines techniques for examining within-person derivations in change patterns, intra-individual change, and inter-individual differences in change and interpersonal dynamics. Intended for advanced students and researchers, this book will appeal to those interested in applying state-of-the-art dynamic modeling techniques to the the study of neurological, developmental, cognitive, and social/personality psychology, as well as neuroscience, computer science, and engineering.
The Routledge Companion to Theatre, Performance and Cognitive Science integrates key findings from the cognitive sciences (cognitive psychology, neuroscience, evolutionary studies and relevant social sciences) with insights from theatre and performance studies. This rapidly expanding interdisciplinary field dynamically advances critical and theoretical knowledge, as well as driving innovation in practice. The anthology includes 30 specially commissioned chapters, many written by authors who have been at the cutting-edge of research and practice in the field over the last 15 years. These authors offer many empirical answers to four significant questions: How can performances in theatre, dance and other media achieve more emotional and social impact? How can we become more adept teachers and learners of performance both within and outside of classrooms? What can the cognitive sciences reveal about the nature of drama and human nature in general? How can knowledge transfer, from a synthesis of science and performance, assist professionals such as nurses, care-givers, therapists and emergency workers in their jobs? A wide-ranging and authoritative guide, The Routledge Companion to Theatre, Performance and Cognitive Science is an accessible tool for not only students, but practitioners and researchers in the arts and sciences as well.
The Oxford Handbook of Dance and Theater collects a critical mass of border-crossing scholarship on the intersections of dance and theatre. Taking corporeality as an idea that unites the work of dance and theater scholars and artists, and embodiment as a negotiation of power dynamics with important stakes, these essays focus on the politics and poetics of the moving body in performance both on and off stage. Contemporary stage performances have sparked global interest in new experiments between dance and theater, and this volume situates this interest in its historical context by extensively investigating other such moments: from pagan mimes of late antiquity to early modern archives to Bolshevik Russia to post-Sandinista Nicaragua to Chinese opera on the international stage, to contemporary flash mobs and television dance contests. Ideologically, the essays investigate critical race theory, affect theory, cognitive science, historiography, dance dramaturgy, spatiality, gender, somatics, ritual, and biopolitics among other modes of inquiry. In terms of aesthetics, they examine many genres such as musical theater, contemporary dance, improvisation, experimental theater, television, African total theater, modern dance, new Indian dance theater aesthetics, philanthroproductions, Butoh, carnival, equestrian performance, tanztheater, Korean Talchum, Nazi Movement Choirs, Lindy Hop, Bomba, Caroline Masques, political demonstrations, and Hip Hop. The volume includes innovative essays from both young and seasoned scholars and scholar/practitioners who are working at the cutting edges of their fields. The handbook brings together essays that offer new insight into well-studied areas, challenge current knowledge, attend to neglected practices or moments in time, and that identify emergent themes. The overall result is a better understanding of the roles of dance and theater in the performative production of meaning.
Since the 1990s many different scientific disciplines have intensified their interest of the so called "mind-body-problem": psychoanalysis, philosophy, academic psychology, cognitive science and modern neuroscience. The conceptualization of how the mind works has changed completely, which has profound implications for clinical psychoanalytical practice as well as for theorizing in contemporary psychoanalysis. As the clinical examples presented in this book suggest, it is the continuous observation in clinical situations which finally allow the psychoanalyst and his patient to dare to re-experience the trauma directly in the transference. Challenging epistemological and methodological questions are throughout connected with the interdisciplinary dialogue between psychoanalysis and modern neurosciences.
Author: Peter Baumgartner, Sabine Payr
Publisher: Princeton University Press
Few developments in the intellectual life of the past quarter-century have provoked more controversy than the attempt to engineer human-like intelligence by artificial means. Born of computer science, this effort has sparked a continuing debate among the psychologists, neuroscientists, philosophers,and linguists who have pioneered--and criticized--artificial intelligence. Are there general principles, as some computer scientists had originally hoped, that would fully describe the activity of both animal and machine minds, just as aerodynamics accounts for the flight of birds and airplanes? In the twenty substantial interviews published here, leading researchers address this and other vexing questions in the field of cognitive science. The interviewees include Patricia Smith Churchland (Take It Apart and See How It Runs), Paul M. Churchland (Neural Networks and Commonsense), Aaron V. Cicourel (Cognition and Cultural Belief), Daniel C. Dennett (In Defense of AI), Hubert L. Dreyfus (Cognitivism Abandoned), Jerry A. Fodor (The Folly of Simulation), John Haugeland (Farewell to GOFAI?), George Lakoff (Embodied Minds and Meanings), James L. McClelland (Toward a Pragmatic Connectionism), Allen Newell (The Serial Imperative), Stephen E. Palmer (Gestalt Psychology Redux), Hilary Putnam (Against the New Associationism), David E. Rumelhart (From Searching to Seeing), John R. Searle (Ontology Is the Question), Terrence J. Sejnowski (The Hardware Really Matters), Herbert A. Simon (Technology Is Not the Problem), Joseph Weizenbaum (The Myth of the Last Metaphor), Robert Wilensky (Why Play the Philosophy Game?), Terry A.Winograd (Computers and Social Values), and Lotfi A. Zadeh (The Albatross of Classical Logic). Speaking Minds can complement more traditional textbooks but can also stand alone as an introduction to the field. Originally published in 1995. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
The Actor, Image and Action is a 'new generation' approach to the craft of acting; the first full-length study of actor training using the insights of cognitive neuroscience. In a brilliant reassessment of both the practice and theory of acting, Rhonda Blair examines the physiological relationship between bodily action and emotional experience. In doing so she provides the latest step in Stanislavsky's attempts to help the actor 'reach the unconscious by conscious means'. Recent developments in scientific thinking about the connections between biology and cognition require new ways of understanding many elements of human activity, including: imagination emotion memory physicality reason. The Actor, Image and Action looks at how these are in fact inseparable in the brain's structure and function, and their crucial importance to an actor’s engagement with a role. The book vastly improves our understanding of the actor's process and is a must for any actor or student of acting.