A pragmatic intervention in the study of how recent discoveries within cognitive science can and should be applied to performance. Drawing on his experience the author interrogates the key cognitive activities involved in performance inc non-verbal communication; thought, speech, and gesture relationships; empathy, imagination, and emotion.

An illuminating study of how former Korean "comfort women" and their supporters have redressed history through protests, tribunals, theater, and memorial-building projects

Embodied Performance presents a methodology by which performer-interpreters can bring their intuitive interpretations to the scholarly conversations about biblical compositions. It may not be comfortable, for scholarship is out of practice in listening to emotion and intuition. It may not be the only way to bring the fullness of human meaning making into scholarly discussions. It is a beginning, as Sarah Agnew, storyteller and scholar, places herself as the subject and object under examination, observing her practice as a biblical storyteller making meaning through embodied performance, and develops a coherent method rigorously tested with an Embodied Performance Analysis of Romans. Follow Sarah’s story as she searches within Biblical Performance Criticism for such a method, before determining the need to strike out in a new direction from within an already innovative field. All biblical scholars are complex human beings, making meaning through their embodiment, their emotions, their embeddedness in community. Embodied Performance Analysis offers a way to attend to and incorporate the full range of human meaning making in our engagement with biblical compositions, for richer discussion closer to the intent of the compositions themselves.

Norms of embodied behaviour for males and females, as promoted in mainstream Western public arenas of popular culture and the everyday, continue to work, overtly and covertly, as definitive and restrictive barriers to the realm of possibilities of embodied gender expression and appreciation. They serve to disempower and marginalize those not inclined to embody according to such dichotomous models. This book explores the ramifications of the way our gendered, sexed and culturally constructed bodies are situated toward notions of difference and highlights the need to safeguard the social and emotional well-being of those who do not fit comfortably with dominant norms of masculine/feminine behaviour, as deemed appropriate to biological sex. The book interrogates gender inequitable machinations of education and performance arts disciplines by which educators and arts practitioners train, teach, choreograph, and direct those with whom they work, and theorizes ways of broadening personal and social notions of possible, aesthetic, and acceptable embodiment for all persons, regardless of biological sex or sexual orientation. The author’s own struggles as a performance artist, educator, and person in the everyday, as well as the findings of empirical fieldwork with educators, performance arts practitioners, and high school students, are employed to illustrate and advocate the need for self reflexive scrutiny of existing and hidden inequities regarding the embodiment of gender within one’s own habitual perspectives, taste, and practices.

What can the Globe Theatre tell us about performing Shakespeare? Unearthing Shakespeare is the first book to consider what the Globe, today’s replica of Shakespeare’s theatre, can contribute to a practical understanding of Shakespeare’s plays. Valerie Clayman Pye reconsiders the material evidence of Early Modern theatre-making, presenting clear, accessible discussions of historical theatre practice; stages and staging; and the relationship between actor and audience. She relays this into a series of training exercises for actors at all levels. From "Shakesball" and "Telescoping" to Elliptical Energy Training and The Radiating Box, this is a rich set of resources for anyone looking to tackle Shakespeare with authenticity and confidence.

Performing in musical ensembles provides a remarkable opportunity for interaction between people. When playing a piece of music together, musicians contribute to the creation of an artistic work that is shaped through their individual performances. However, even though ensembles are a large part of musical activity, questions remain as to how they function. In Embodied Knowledge in Ensemble Performance, Murphy McCaleb explores the processes by which musicians interact with each other through performance.

In this collection of essays, the four branches of radical cognitive science—embodied, embedded, enactive and ecological—will dialogue with performance, with particular focus on post-cognitivist approaches to understanding the embodied mind-in-society; de-emphasising the computational and representational metaphors; and embracing new conceptualisations grounded on the dynamic interactions of "brain, body and world". In our collection, radical cognitive science reaches out to areas of scholarship also explored in the fields of performance practice and training as we facilitate a new inter- and transdisciplinary discourse in which to jointly share and explore common reactions of embodied approaches to the lived mind. The essays originally published as a special issue in Connection Science.