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Introduction: Studying the Cognition of Memory in the Performing Arts

Pil Hansen

Pil Hansen is an Assistant Professor and Graduate Program Director at the School of Creative and Performing Arts, University of Calgary, Canada; a founding member of Vertical City Performance; and a dramaturg. Her empirical and PaR experiments examine cognitive dynamics of memory and perception in creative processes. With Bruce Barton, she developed the multi-disciplinary research model ‘Research-Based Practice’. Hansen chairs the PSi Working Group on Dramaturgy and Performance; her award-winning creative work has toured nationally and internationally; and her scholarly research is published in Connection Science, Journal of Dramatic Theory and Criticism, TDR: The Drama Review, Performance Research, Theatre Topics, and Koreografisk Journal among other journals and ten essay collections on dramaturgy, cognitive performance studies, and research methods. Hansen co-edited the essay collection Dance Dramaturgy: Modes of Agency, Awareness and Engagement (2015). Current and recent artistic collaborators are: Kaeja d’Dance, Theatre Junction Grand, Toronto Dance Theatre, and Public Recordings. Author affiliation details are correct at time of print publication.

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Bettina Bläsing

Bettina Bläsing is a responsible investigator at the Center of Excellence Cognitive Interaction Technology (CITEC) at Bielefeld University, Germany. She studied Biology at Bielefeld University and Applied Animal Behaviour and Welfare at the University of Edinburgh, Scotland. Bettina worked as science journalist and editor, and as a postdoctoral researcher at the Max Planck Institute for Evolutionary Anthropology and University of Leipzig before joining the Neurocognition and Action Research Group at Bielefeld University in 2006. Her main research interests are mental representations of body, movement and space; the control and learning of complex movements and manual actions; and expertise in dance. Author affiliation details are correct at time of print publication.

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Performing the Remembered Present : The Cognition of Memory in Dance, Theatre and Music

Bloomsbury Methuen Drama, 2017

Books

...The authors’ research described here has been supported by CITEC, the VW Foundation, the Faculty of Arts at the University of Calgary and the Canadian Social Sciences and Humanities Research Council (SSHRC). This collection...

Learning Complex Actions through Physical vs. Observational Experience: Implications and Applications for Dance and Other Performing Arts

Performing the Remembered Present : The Cognition of Memory in Dance, Theatre and Music

Bloomsbury Methuen Drama, 2017

Books

...Introduction Observing a model is often a first step towards learning a new motor skill. When learning a complex new movement, such as a triple jump in figure skating or a challenging chord progression...

Distributed Cognition, Memory and Theatrical Performance

Performing the Remembered Present : The Cognition of Memory in Dance, Theatre and Music

Bloomsbury Methuen Drama, 2017

Books

...Memory is a subject divided by a common vocabulary. The term is used so variously that common ground in discussing the subject can be difficult to achieve. As Robert Wilson has suggested, disciplinary boundaries mark very different ways...

Already Seen, Already Heard, Already Visited: Constructing the Experience of Déjà States within Live Intermedial Performance

Performing the Remembered Present : The Cognition of Memory in Dance, Theatre and Music

Bloomsbury Methuen Drama, 2017

Books

...Introduction This chapter considers our collaborative Practice as Research in performance as a mode of intersubjective memory-making, and specifically as a way of activating and exploring the subjective experience of déjà vu...

Analytical Aspects in Children’s Performance of Music from Memory

Performing the Remembered Present : The Cognition of Memory in Dance, Theatre and Music

Bloomsbury Methuen Drama, 2017

Books

...Performance and piano pedagogy studies This case study deals with analytical and gestural aspects of children’s performance from memory. Three pianists, all aged ten, studied a piece they had neither played nor heard...

Action, Memory and Meaning: Embodied Cognition and the Actor’s Fictional Present

Performing the Remembered Present : The Cognition of Memory in Dance, Theatre and Music

Bloomsbury Methuen Drama, 2017

Books

...As an embodied art, theatre requires actors to engage in most, if not all, of the cognitive processes that humans conduct in daily life. Actors display expertise in eliciting and regulating features of behaviour that most people simply...

Memory and Dance: ‘Bodies of Knowledge’ in Contemporary Dance

Performing the Remembered Present : The Cognition of Memory in Dance, Theatre and Music

Bloomsbury Methuen Drama, 2017

Books

...The author’s research described here has been supported by the Australian Research Council Discovery Project, Linkage Project and Linkage Infrastructure, Equipment and Facilities grant schemes: DP0986394, LE0668448, LP0562687, LP130100670...

Table on Stage

Performance Studies in Motion : International Perspectives and Practices in the Twenty-First Century

Bloomsbury Methuen Drama, 2014

Books

...It was a wonderful machine. It had the form factor of the original Macintosh, so if you were seated at it, if you squinted, it looked like a little anthropomorphic human face staring back at you. And I would type into its tiny gray-scale...

Memory in Music Listening and Performance

Performing the Remembered Present : The Cognition of Memory in Dance, Theatre and Music

Bloomsbury Methuen Drama, 2017

Books

...Introduction In this chapter I reflect on how memory is involved in key aspects of music. An introductory section on the subject of listening to music leads into a more comprehensive review and discussion of the processes whereby...

Some Principles

Chris Johnston

Chris Johnston is a theatre theatre director and playwright. He is the Director of Fluxx, the improvisation company, and Co-Director of Rideout and Livestock. He is the author of House of Games, The Improvisation Game and For Those Who Like To Say No. He has taught at a range of colleges and institutions including University of Warwick and Staffordshire University, UK. Author affiliation details are correct at time of print publication.

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Disobedient Theatre : Alternative Ways to Inspire, Animate and Play

Bloomsbury Methuen Drama, 2017

Books

...Which are those drivers that characterize a rebellious, subversive theatre practice? 1. Defiance Explores current and recent examples of political and cultural defiance in theatre; an attempted...