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Theatre, Performance and Cognition: Languages, Bodies and Ecologies de Professor Rhonda Blair

Theatre, Performance and Cognition: Languages, Bodies and Ecologies: Performance and Science: Interdisciplinary Dialogues

Editat de Professor Rhonda Blair, Amy Cook Professor John Lutterbie, Prof Nicola Shaughnessy
en Limba Engleză Hardback – 24 mar 2016

Perspectiva curatorială propusă de Professor Rhonda Blair și Amy Cook în acest volum ne invită să explorăm teatrul nu doar ca act artistic, ci ca un proces cognitiv complex. Subliniem modul în care acest volum reușește să transforme concepte abstracte din neuroștiințe în instrumente palpabile pentru sala de repetiții. Experiența de lectură este una de tip multisenzorial, unde analiza riguroasă a textului dramatic se împletește cu dinamica fizică a corpului în mișcare.

Structura cărții urmărește o progresie logică, de la micro la macro. Prima parte, dedicată lingvisticii cognitive, recontextualizează operele lui Shakespeare prin prisma modului în care mintea procesează metafora și corporalitatea. Reținem aici capitolul Laurei Seymour despre semnificația cognitivă a îngenuncherii în „Julius Caesar”. A doua secțiune mută accentul pe corp, explorând antrenamentul actoricesc prin analogii cu psihologia sportului, în timp ce partea finală integrează interpretul într-o ecologie dinamică a spațiului de joc.

Ca și An Introduction to Theatre, Performance and the Cognitive Sciences de Professor John Lutterbie, acest volum pune în valoare dialogul interdisciplinar, dar cu un accent pe aplicabilitatea directă în procesul de creație și antrenament (văzut în capitolele despre ArtsCross). Cartea se înscrie organic în traiectoria academică a editorilor; dacă în The Actor, Image, and Action: Acting and Cognitive Neuroscience, Blair se concentra pe neuroștiința actoriei, aici orizontul se lărgește spre ecologiile performative. Este o resursă esențială care demonstrează cum științele cognitive pot ilumina mecanismele invizibile ale prezenței scenice.

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Specificații

ISBN-13: 9781472591791
ISBN-10: 1472591798
Pagini: 256
Ilustrații: 10 bw illus
Dimensiuni: 138 x 216 x 17 mm
Greutate: 0.45 kg
Editura: Bloomsbury Publishing
Colecția Methuen Drama
Seria Performance and Science: Interdisciplinary Dialogues

Locul publicării:London, United Kingdom

De ce să citești această carte

Recomandăm această carte cercetătorilor și practicienilor care doresc să înțeleagă fundamentul biologic și cognitiv al artei teatrale. Cititorul câștigă o perspectivă științifică asupra modului în care publicul și actorii interacționează la nivel mental și fizic. Este o lectură necesară pentru a depăși intuiția în regie și actorie, oferind un limbaj comun între estetică și știință, într-un format academic riguros, dar accesibil.

Despre autor

Rhonda Blair este profesoară la Southern Methodist University din Dallas și o autoritate recunoscută în aplicarea neuroștiințelor cognitive în actorie, fiind autoarea volumului de referință 'The Actor, Image, and Action' (2008). A servit ca președintă a American Society for Theatre Research. Amy Cook este conferențiar la Stony Brook University, New York, specializată în neuro-performance și studiul textelor shakespeariene prin prisma științelor cognitive. Ambii editori au o experiență vastă în coordonarea grupurilor de lucru interdisciplinare, fiind pionieri în integrarea lingvisticii și a ecologiei cognitive în studiile teatrale contemporane.

Descriere

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.

Cuprins

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

Recenzii

The three concepts addressed in this volume are central, contested, and used in significantly different ways in the humanities, neuroscience and psychology. Through presenting essays that use the term and then inviting someone more familiar with the sciences, this book challenges preconceptions about how terms are used and serve as a means of improving the quality of communication between disciplines.
There is much in this book to intrigue, inform, and inspire scholars, students, teachers, and practitioners of theatre and performance. Editors Rhonda Blair and Amy Cook provide accessible introductions for those who might be new to the intersection of cognitive science and theatre, while individual chapters advance the knowledge that arises from this confluence by engaging with specific topics in detailed and provocative ways. The chapters are written by authors of diverse provenances, including dance, neuroscience, philosophy, psychology, and narratology, alongside theatre and performance studies. The book also includes helpful appendices in the form of abstracts of influential references that informed the chapter authors' writing, and fascinating "After Words" in which practitioners talk about how their work responds to concepts from cognitive science . The application of cognitive science to theatre and performance studies has become an established theoretical approach. This book advances the field significantly-not just by virtue of the content of the individual chapters, but also by the success of its interdisciplinary format, which stimulates valuable dialogue among its authors.
In their excellent edited collection Rhonda Blair and Amy Cook highlight the evolving and broadening interest in cognitive science (a field that includes neuroscience, psychology, cognitive linguistics, and philosophy) by scholars and practitioners of performance . their book demonstrates how rich and varied this interdisciplinary research has become over the twenty years since it first emerged . one of the strengths of this collection is its demonstration that theatre, dance, and performance studies offer essential insights to the sciences of the mind by analyzing perception, movement, and action in their material, social, and cultural environments.
Appealing to readers from diverse disciplines, the collection is for those beginning to explore the rich terrain of the cognitive humanities.
Editors Rhonda Blair and Amy Cook bring together a diverse collection of essays that serve three different audiences: theatre and performance scholars, performance practitioners, and scientists . Blair and Cook make obvious the symbiotic potential of questions asked in two seemingly divergent fields . Theatre, Performance and Cognition serves the field by providing concrete actions for practicing artists, an excellent starting point for established scholars and students, and a robust exploration of the intersections of cognitive science and theatre/performance. Further, this useful co-edited study establishes alternative methods of understanding fundamental questions within the fields of theatre, performance, and dance.

Caracteristici

The range of international case studies and contributions include key scientific studies with their applications for actors and performance more generally

Notă biografică

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.