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…mehr
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.
Clelia Falletti is Associate Professor at Sapienza University of Rome, Italy. Since 1981 she has participated in research by ISTA (International School of Theatre Anthropology) directed by Eugenio Barba; she is dramaturg for Teatro Potlach, and co-editor of theatre books series with two Italian publishing houses. Gabriele Sofia teaches theatre studies and physical theatre at Paul Valéry University, Montpellier, France. Since 2006 he has carried out an interdisciplinary research project on the neurophysiology of the actor and the spectator between the Sapienza University of Rome and the Maisons des Sciences de l'Homme Paris Nord. From 2009 to 2013 he promoted and organized five editions of the International Conference "Dialogues between Theatre and Neuroscience" at Sapienza. Victor Jacono, PhD in Performance Studies, teaches at the MCAST Institute for the Creative Arts and Drama at the Alternative Learning Program, Malta.
Inhaltsangabe
Preface Part One: Theatre as a space of relationships: a neurocognitive approach 1. Editorial Introduction: The space of shared action (Clelia Falletti Sapienza University of Rome Italy) 2. "Mirror mechanism" and motor behavior (Maria Alessandra Umiltà neuroscientist University of Parma Italy) 3. Body presence and extra-personal space perception (Giorgia Committeri and Chiara Fini neuroscientists University of Chieti Italy) 4. The actor at the circus. Towards a cognitive approach (Philippe Goudard University Paul Valéry Montpellier 3 France) Part Two: The spectator's performative experience and "Embodied theatrology" 5. Editorial introduction: Towards an "Embodied Theatrology"? (Gabriele Sofia University Paul Valéry Montpellier 3 France) 6. Body and corporeality. A small multidisciplinary glossary (Marco De Marinis University of Bologna Italy) 7. Audiences' experience of proximity and co-presence in live dance performance (Corinne Jola neuroscientist and choreographer Abertay University Dundee and Matthew Reason Faculty of Arts York St John University UK) 8. "Theatre and science". Some reflections on the theatre effectiveness mechanism in Antonin Artaud (Lorraine Dumenil University Paris 3 Sorbonne Nouvelle France) Part Three: The complexity of theatre and human cognition 9. Editorial Introduction: The Complexity of the actor's pedagogy and human cognition (Victor Jacono Sapienza University of Rome Italy) 10. A rope over an abyss (John J. Schranz University of Malta) 11. The actor's embodied language. Preliminary indications from a pilot experiment (Gabriele Sofia; Silvia Spadacenta neuroscientist University of Tübingen Germany; Clelia Falletti; Giovanni Mirabella neuroscientist Sapienza University of Rome Italy) 12. Perception and the organization of time in the theatre (Luciano Mariti Sapienza University of Rome Italy) Part Four: Interdisciplinary perspectives in applied performance 13. Editorial introduction: Does art therapy work as a rehabilitative tool? (Giovanni Mirabella neuroscientist Sapienza University of Rome Italy) 14. Use of theatrical techniques and elements as interventions for autism spectrum disorders (Jenna Gabriel Harvard University USA; Elisa Angevin Columbia University USA; Tamara Rosen and Matthew D. Lerner Stony Brook University USA) 15. Theatre is a valuable tool for parkinson's disease rehabilitation (Nicola Modugno neurologist IRCCS Neuromed Pozzilli; Imogen Kusch theatre director of the Klesidra Company Rome and Giovanni Mirabella) 16. Theatre and therapy: care cure or illusion? (Jean-Marie Pradier Ethnoscenologist University Paris 8 - MSH-Paris Nord France) Afterword Endnotes Index
Preface Part One: Theatre as a space of relationships: a neurocognitive approach 1. Editorial Introduction: The space of shared action (Clelia Falletti Sapienza University of Rome Italy) 2. "Mirror mechanism" and motor behavior (Maria Alessandra Umiltà neuroscientist University of Parma Italy) 3. Body presence and extra-personal space perception (Giorgia Committeri and Chiara Fini neuroscientists University of Chieti Italy) 4. The actor at the circus. Towards a cognitive approach (Philippe Goudard University Paul Valéry Montpellier 3 France) Part Two: The spectator's performative experience and "Embodied theatrology" 5. Editorial introduction: Towards an "Embodied Theatrology"? (Gabriele Sofia University Paul Valéry Montpellier 3 France) 6. Body and corporeality. A small multidisciplinary glossary (Marco De Marinis University of Bologna Italy) 7. Audiences' experience of proximity and co-presence in live dance performance (Corinne Jola neuroscientist and choreographer Abertay University Dundee and Matthew Reason Faculty of Arts York St John University UK) 8. "Theatre and science". Some reflections on the theatre effectiveness mechanism in Antonin Artaud (Lorraine Dumenil University Paris 3 Sorbonne Nouvelle France) Part Three: The complexity of theatre and human cognition 9. Editorial Introduction: The Complexity of the actor's pedagogy and human cognition (Victor Jacono Sapienza University of Rome Italy) 10. A rope over an abyss (John J. Schranz University of Malta) 11. The actor's embodied language. Preliminary indications from a pilot experiment (Gabriele Sofia; Silvia Spadacenta neuroscientist University of Tübingen Germany; Clelia Falletti; Giovanni Mirabella neuroscientist Sapienza University of Rome Italy) 12. Perception and the organization of time in the theatre (Luciano Mariti Sapienza University of Rome Italy) Part Four: Interdisciplinary perspectives in applied performance 13. Editorial introduction: Does art therapy work as a rehabilitative tool? (Giovanni Mirabella neuroscientist Sapienza University of Rome Italy) 14. Use of theatrical techniques and elements as interventions for autism spectrum disorders (Jenna Gabriel Harvard University USA; Elisa Angevin Columbia University USA; Tamara Rosen and Matthew D. Lerner Stony Brook University USA) 15. Theatre is a valuable tool for parkinson's disease rehabilitation (Nicola Modugno neurologist IRCCS Neuromed Pozzilli; Imogen Kusch theatre director of the Klesidra Company Rome and Giovanni Mirabella) 16. Theatre and therapy: care cure or illusion? (Jean-Marie Pradier Ethnoscenologist University Paris 8 - MSH-Paris Nord France) Afterword Endnotes Index
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