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. * John Lutterbie, Stony Brook University, USA * 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 significantlynot 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. * Theatre Topics * 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. * Theatre Journal * Appealing to readers from diverse disciplines, the collection is for those beginning to explore the rich terrain of the cognitive humanities. * Theatre Survey * 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. * Journal of Dramatic Theory and Criticism *
