This anthology is the first of its kind. In addition to opening up fresh perspectives on theatre studies – with applications for dramatic criticism, performance analysis, acting practice, audience response, theatre history, and other important areas – the book sets the agenda for future work, helping to map the emergence of this new approach. Following a comprehensive introduction, the contributors examine: the interfaces between cognitive studies and Lacanian psychoanalysis, phenomenology and communication theory different ideas from cognitive studies that open up the meanings of several plays the process of acting and the work of Antonio Damasio theatrical response: the dynamics of perception, and the riots that greeted the 1907 production of The Playboy of the Western World. This original and authoritative work will be attractive to scholars and graduate students of drama, theatre, and performance.

This book integrates findings from across domains in performance psychology to focus on core research on what influences peak and non-peak performance. The book explores basic and applied research identifying cognition-action interactions, perception-cognition interactions, emotion-cognition interactions, and perception-action interactions. The book explores performance in sports, music, and the arts both for individuals and teams/groups, looking at the influence of cognition, perception, personality, motivation and drive, attention, stress, coaching, and age. This comprehensive work includes contributions from the US, UK, Canada, Germany, and Australia. - Integrates research findings found across domains in performance psychology - Includes research from sports, music, the arts, and other applied settings - Identifies conflicts between cognition, action, perception, and emotion - Explores influences on both individual and group/team performance - Investigates what impacts peak performance and error production

Human Performance provides the student and researcher with a comprehensive and accessible review of performance, in the real world and essential cognitive science theory. Four main sections cover both theoretical and practical issues: Section One outlines the perspectives on performance offered by contemporary cognitive science, including information processing and neuroscience perspectives. Section Two presents a multi-level view of the performer as biological organism, information-processor and intentional agent. It reviews the development of the cognitive theory of performance through experimental studies and also looks at practical issues such as human error. Section Three reviews the impact of stress factors such as noise, fatigue and illness on performance. Section Four assesses individual and group differences in performance with accounts of ability, personality and aging.

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.

The thinker who has a mortal fear of being wrong will give all that is valuable in himself to that little ambition. Walter Lippmann (1914) Psychology has always been plagued by passing fads and fan cies to a greater extent than is seemly in a scientific discipline. Over the past few years the Zeitgeist can be summed up by the two words 'cognitive psychology'. Indeed, a recent poll of academic psychologists in American indicated that over 80% of them regarded themselves as cognitive psychologists! Cognitive psychology is in the ascendant, but it has never been clear to me that it has addressed all of the appropriate is sues. In particular, information processing in the real world (and even in the laboratory) occurs within a motivational and emotional context, but cognitive psychologists usually main tain the convenient fiction that cognition can fruitfully be stud ied in isolation. The main reason for writing this book was to at tempt to demonstrate that there can be a useful cross-fertiliza tion between cognitive and motivational-emotional psycholo gy and that there are already tantalizing glimpses of the poten tial advantages of such inter-disciplinary research. The ideas of Donald Broadbent and his associates have exer cised a formative influence during the writing of this book. They discovered some years ago that there are intriguing simi larities (as well as differences) in the effects on performance of such apparently quite disparate factors as white noise, time of day, introversion-extraversion and incentive.

Bruce McConachie explores the biocultural basis of performance, from the cognitive processes that facilitate it, to what keeps us engaged.

Theatre, Performance and Cognition introduces readers to the key debates, areas of research, and applications of the cognitive sciences to the humanities, and to theatre and performance in particular. It features the most exciting work being done at the intersection of theatre and cognitive science, containing both selected scientific studies that have been influential in the field, each introduced and contextualised by the editors, together with related scholarship from the field of theatre and performance that demonstrates some of the applications of the cognitive sciences to actor training, the rehearsal room and the realm of performance more generally. The three sections consider the principal areas of research and application in this interdisciplinary field, starting with a focus on language and meaning-making in which Shakespeare's work and Tom Stoppard's Arcadia are considered. In the second part which focuses on the body, chapters consider applications for actor and dance training, while the third part focuses on dynamic ecologies, of which the body is a part.