Maiya Murphy – författare

This interdisciplinary study explores devised performance and practice research at the intersection of the cognitive sciences and arts.It interrogates relationships between epistemology and cognition, action and aesthetics, and first-person experience and third-person investigation. Pairing practice research methodologies from theatre and performance with cognitive and neuroscientific approaches—both theoretical and empirical—it reveals new insights into the practices of collective creation in theatre.To foreground the insider knowledge inherent to practice research, the main case studies are works created and performed by Maiya Murphy’s international movement-based devising collective, Autopoetics. Autopoetics’ work is contextualized in reference to major international devising companies, dance companies, and interdisciplinary research projects including Complicité, Frantic Assembly, Forced Entertainment, Tectonic Theater Project, The Necessary Stage, Company Wayne McGregor, Australian Dance Theatre, Choreography and Cognition, Motion Bank and Watching Dance: Kinesthetic Empathy. Practice, Research, and Cognition in Devised Performance proposes a model for breaking down disciplinary silos to freshly access the processes of collaborative practice and invigorate research in the humanities and arts.

This interdisciplinary study explores devised performance and practice research at the intersection of the cognitive sciences and arts. It interrogates relationships between epistemology and cognition, action and aesthetics, and first-person experience and third-person investigation. Pairing practice research methodologies from theatre and performance with cognitive and neuroscientific approaches-both theoretical and empirical-it reveals new insights into the practices of collective creation in theatre. To foreground the insider knowledge inherent to practice research, the main case studies are works created and performed by Maiya Murphy''s international movement-based devising collective, Autopoetics. Autopoetics'' work is contextualized in reference to major international devising companies, dance companies, and interdisciplinary research projects including Complicité, Frantic Assembly, Forced Entertainment, Tectonic Theater Project, The Necessary Stage, Company Wayne McGregor, Australian Dance Theatre, Choreography and Cognition, Motion Bank and Watching Dance: Kinesthetic Empathy. Practice, Research, and Cognition in Devised Performance proposes a model for breaking down disciplinary silos to freshly access the processes of collaborative practice and invigorate research in the humanities and arts.

This interdisciplinary study explores devised performance and practice research at the intersection of the cognitive sciences and arts. It interrogates relationships between epistemology and cognition, action and aesthetics, and first-person experience and third-person investigation. Pairing practice research methodologies from theatre and performance with cognitive and neuroscientific approaches-both theoretical and empirical-it reveals new insights into the practices of collective creation in theatre. To foreground the insider knowledge inherent to practice research, the main case studies are works created and performed by Maiya Murphy''s international movement-based devising collective, Autopoetics. Autopoetics'' work is contextualized in reference to major international devising companies, dance companies, and interdisciplinary research projects including Complicité, Frantic Assembly, Forced Entertainment, Tectonic Theater Project, The Necessary Stage, Company Wayne McGregor, Australian Dance Theatre, Choreography and Cognition, Motion Bank and Watching Dance: Kinesthetic Empathy. Practice, Research, and Cognition in Devised Performance proposes a model for breaking down disciplinary silos to freshly access the processes of collaborative practice and invigorate research in the humanities and arts.

This book examines the theatrical movement-based pedagogy of Jacques Lecoq (1921-1999) through the lens of the cognitive scientific paradigm of enaction. The conversation between these two both uncovers more of the possible cognitive processes at work in Lecoq pedagogy and proposes how Lecoq’s own practical and philosophical approach could have something to offer the development of the enactive paradigm. Understanding Lecoq pedagogy through enaction can shed new light on the ways that movement, key to Lecoq’s own articulation of his pedagogy, might cognitively constitute the development of Lecoq’s ultimate creative figure – the actor-creator. Through an enactive lens, the actor-creator can be understood as not only a creative figure, but also the manifestation of a fundamentally new mode of cognitive selfhood. This book engages with Lecoq pedagogy’s significant practices and principles including the relationship between the instructor and student, identifications, mime, play, mask work, language, improvisation, and movement analysis.