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.
Release on 2018-09-05 | by Rick Kemp,Bruce McConachie
Author: Rick Kemp,Bruce McConachie
Category: Performing Arts
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.
This book explores ways in which Shakespeare’s writing strategies shape our embodied perception of objects – both real and imaginary – in four of his plays. Taking the reader on a series of perceptual journeys, it engages in an exciting dialogue between the disciplines of phenomenology, cognitive studies, historicist research and modern acting techniques, in order to probe our sentient and intuitive responses to Shakespeare’s language. What happens when we encounter objects on page and stage; and how we can imagine that impact in performance? What influences might have shaped the language that created them; and what do they reveal about our response to what we see and hear? By placing objects under the phenomenological lens, and scrutinising them as vital conduits between lived experience and language, this book illuminates Shakespeare’s writing as a rich source for investigation into the way we think, feel and communicate as embodied beings.
Cognitive Approaches to Early Modern Spanish Literature is the first anthology exploring human cognition and literature in the context of early modern Spanish culture. It includes the leading voices in the field, along with the main themes and directions that this important area of study has been producing. The book begins with an overview of the cognitive literary studies research that has been taking place within early modern Spanish studies over the last fifteen years. Next, it traces the creation of self in the context of the novel, focusing on Cervantes's Don Quixote in relation to the notions of embodiment and autopoiesis as well as the faculties of memory and imagination as understood in early modernity. It continues to explore the concept of embodiment, showing its relevance to delve into the mechanics of the interaction between actors and audience both in the jongleuresque and the comedia traditions. It then centers on cognitive theories of perception, the psychology of immersion in fictional worlds, and early modern and modern-day notions of intentionality to discuss the role of perceiving and understanding others in performance, Don Quixote, and courtly conduct manuals. The last section focuses on the affective dimension of audience-performer interactions in the theatrical space of the Spanish corrales and how emotion and empathy can inform new approaches to presenting Las Casas's work in the literature classroom. The volume closes with an afterword offering strategies to design a course on mind and literature in early modernity.
Stanislavsky’s system of actor-training has revolutionised modern theatre practice, and he is widely recognised to be one of the great cultural innovators of the twentieth century. The Routledge Companion to Stanislavsky is an essential book for students and scholars alike, providing the first overview of the field for the 21st century. An important feature of this book is the balance between Stanislavsky’s theory and practice, as international contributors present scholarly and artistic interpretations of his work. With chapters including academic essays and personal narratives, the Companion is divided into four clear parts, exploring Stanislavsky on stage, as an acting teacher, as a theorist and finally as a theatre practitioner. Bringing together a dazzling selection of original scholarship, notable contributions include: Anatoly Smeliansky on Stanislavsky’s letters William D. Gunn on staging ideology at the Moscow Art Theatre Sharon Marie Carnicke and David Rosen on opera Rosemary Malague on the feminist perspective of new translations W.B. Worthen on cognitive science Julia Listengarten on the avant-garde David Krasner on the System in America and Dennis Beck on Stanislavsky’s legacy in non-realistic theatre R. Andrew White is Associate Professor of Theatre at Valparaiso University, where he annually directs productions. He has an MFA in Acting from Carnegie Mellon University and the Moscow Art Theatre School, and has worked as an actor at a variety of theatres in the United States. In addition, his scholarship has appeared in edited works published by Routledge and Palgrave Macmillan, as well as in top American journals including Theatre Survey, TDR/The Drama Review, and New England Theatre Journal.
Applied Theatre: Aesthetics re-examines how the idea of 'the aesthetic' is relevant to performance in social settings. The disinterestedness that traditional aesthetics claims as a key characteristic of art makes little sense when making performances with ordinary people, rooted in their lives and communities, and with personal and social change as its aim. Yet practitioners of applied arts know that their work is not reducible to social work, therapy or education. Reconciling the simultaneous autonomy and heteronomy of art is the problem of aesthetics in applied arts. Gareth White's introductory essay reviews the field, and proposes an interdisciplinary approach that builds on new developments in evolutionary, cognitive and neuro-aesthetics alongside the politics of art. It addresses the complexities of art and the aesthetic as everyday behaviours and responses. The second part of the book is made up of essays from leading experts and new voices in the practice and theory of applied performance, reflecting on the key problematics of applying performance with non-performers. New and innovative practice is described and interrogated, and fresh thinking is introduced in response to perennial problems.
This book tells the story of the Royal Shakespeare Company's acclaimed and influential project to transform the teaching of Shakespeare in schools. It examines their approaches to making his plays more accessible, enjoyable and relevant to young people, describing the innovative classroom practices that the Company has pioneered and locating these within a clearly articulated theory of learning. It also provides evidence of their impact on children and young people's experience of Shakespeare, drawing upon original research as well as research commissioned by the RSC itself. Authoritative but highly readable, the book is relevant to anyone with an interest in the teaching of Shakespeare, and in how a major cultural organisation can have a real impact on the education of young people from a wide range of social backgrounds. It benefits from interviews with key policy makers and practitioners from within the RSC, including their legendary voice coach, Cicely Berry, and with internationally renowned figures such as the writer and academic, Jonathan Bate; the previous artistic director of the RSC, Michael Boyd; and the celebrated playwright, Tim Crouch.
Live Art, Socially Engaged Theatre and Affective Practice
Author: Nicola Shaughnessy
Pubpsher: Palgrave Macmillan
Category: Performing Arts
This title draws upon cognitive and affect theory to examine applications of contemporary performance practices in educational, social and community contexts. The writing explores the processes of creating work defined variously as collaborative, participatory and socially engaged.
At once both guide book and provocation, this is an indispensable companion for students and practitioners of applied theatre. It addresses all key aspects: principles, origins, politics and aesthetics in a concise and accessible style designed to appeal both to those who have recently discovered this sub-discipline and to experienced practitioners and academics. Part 1 is divided into two chapters. The first introduces the sub-discipline of Theatre for Development, covering its origins, principles and history, and providing an overview of theatre for development in Western contexts as well as in Africa, Asia, the Indian Subcontinent and Latin America. The second focuses upon theoretical and philosophical issues confronting the discipline and its relationship to contemporary politics, as well as considering its future role. Part 2 consists of seven chapters contributed by leading figures and current practitioners from around the world and covering a diverse range of themes, methodologies and aesthetic approaches. One chapter offers a series of case studies concerned with sexual health education and HIV prevention, drawn from practitioners working in Vietnam, Papua New Guinea, Southern Africa, and China. Other chapters include studies of intercultural theatre in the Peruvian Amazon; a programme of applied theatre conducted in schools in Canterbury, New Zealand, following the 2010 earthquake; an attempt to reinvigorate a community theatre group in South Brazil; and an exchange between a Guatemalan arts collective and a Dutch youth theatre company, besides others.
Release on 2015-02-26 | by Peter O'Connor,Michael Anderson
Author: Peter O'Connor,Michael Anderson
Pubpsher: Bloomsbury Publishing
Category: Performing Arts
Applied Theatre: Research is the first book to consolidate thinking about applied theatre as research through a thorough investigation of ATAR as a research methodology. It will be an indispensable resource for teachers and researchers in the area. The first section of the book details the history of the relationship between applied theatre and research, especially in the area of evaluation and impact assessment, and offering an examination of the literature surrounding applied theatre and research. The book then explores how applied theatre as research (ATAR) works as a democratic and pro-social adjunct to community based research and explains its complex relationship to arts informed inquiry, Indigenous research methods and other research epistemologies. The book provides a rationale for this approach focusing on its capacity for reciprocity within communities. The second part of the book provides a series of international case studies of effective practice which detail some of the key approaches in the method and based on work conducted in Australia, New Zealand, Singapore and the South Pacific. The case studies provide a range of cultural contexts for the playing out of various forms of ATAR, and a concluding chapter considers the tensions and the possibilities inherent in ATAR. This is a groundbreaking book for all researchers who are working with communities who require a method that moves beyond current research practice.