Název: Metafory, kterými hrajeme : perspektivy a meze české kognitivní teatrologie
Variantní název:
- Metaphors we act by : prospects and limits of the Czech cognitive theatrology
Zdrojový dokument: Theatralia. 2015, roč. 18, č. 1, s. 65-84
Rozsah
65-84
-
ISSN1803-845X (print)2336-4548 (online)
Trvalý odkaz (DOI): https://doi.org/10.5817/TY2015-1-4
Trvalý odkaz (handle): https://hdl.handle.net/11222.digilib/133607
Type: Článek
Jazyk
Licence: Neurčená licence
Upozornění: Tyto citace jsou generovány automaticky. Nemusí být zcela správně podle citačních pravidel.
Abstrakt(y)
The given study presents the main terms and theoretical concepts of cognitive theatrology. The author aims at making the Czech audience acquainted with the foundation texts of this relatively new branch of theatre studies which draws abundantly from other disciplines, and indicate its possible application in research. Discussion is carried on what is the use of cognitive science in theatre research, which issues it can handle, and what methodology it employs.
cze
eng
Note
Tato studie vychází za podpory grantového projektu Perspektivy a meze české kognitivní teatrologie (projekt MUNI/21/HAL/2014).
Reference
[1] BERNÁTEK, Martin, David DROZD a Šárka HAVLÍČKOVÁ KYSOVÁ. 2014. Úvod do teorie divadla: vybrané kapitoly [Introduction to Theatre Theory: Selected Chapters]. 1. vyd. Brno: Masarykova univerzita, 2014.
[2] BLAIR, Rhonda. 2006. Image and Action. Cognitive Neuroscience and Actor-training. In Bruce McConachie a Elizabeth Hart (eds.). Performance and Cognition. Theatre Studies and the Cognitive Turn. London/New York: Routledge, 2006: 167–185.
[3] CRANE, Mary Thomas. 2001. Shakespeare's Brain. Reading with Cognitive Theory. Princeton/Oxford: Princeton University Press, 2001.
[4] DAMASIO, Antonio. 2004. Hledání Spinozy. Radost, strast a citový mozek [In Search of Spinoza. Happiness, Sorrow, and Emotional Brain]. Praha: Dybbuk, 2004.
[5] EYSENCK, Michael W. a Mark KEANE. 2008. Kognitivní psychologie [Cognitive Psychology]. Praha: Academia, 2008.
[6] FAUCONNIER, Gilles a Mark TURNER. 2002. The Way We Think: Conceptual Blending and the Mind's Hidden Complexities. New York: Basic Books, 2002.
[7] JOHNSON, Mark. 1990. The Body in the Mind. The Bodily Basis of Meaning, Imagination, and Reason. Chicago: The University of Chicago Press, 1990.
[8] LAKOFF, George. 2006. Ženy, oheň a nebezpečné věci. Co kategorie vypovídají o naší mysli [Women, Fire, and Dangerous Things. What Cathgories Reveal About the Mind]. Překl. [Transl.] Dominik Lukeš. Praha: Triáda, 2006.
[9] LAKOFF, George a Mark JOHNSON. 1980. Metaphors We Live By. Chicago: The University of Chicago Press, 1980.
[10] LAKOFF, George a Mark JOHNSON. 2002. Metafory, kterými žijeme [Metaphors We Live By]. Brno: Host, 2002.
[11] LAKOFF, George a Mark JOHNSON. 2003. Metaphors We Live By. Chicago a London: The University of Chicago Press, 2003.
[12] LUTTERBIE, John. 2006. Neuroscience and Creativity in the Rehearsal Process. In Bruce McConachie a Elizabeth Hart (eds.). Performance and Cognition. Theatre Studies and the Cognitive Turn. London/New York: Routledge, 2006: 149–166.
[13] LUTTERBIE, John. 2011. Toward a General Theory of Acting. Cognitive Science and Performance. New York: Palgrave Macmillan, 2011.
[14] MCCONACHIE, Bruce. 2001. Doing Things with Image Schemas: The Cognitive Turn in Theatre Studies and the Problem of Experience for Historians. Theatre Journal 53 (2001): 4: 569–594. | DOI 10.1353/tj.2001.0115
[15] MCCONACHIE, Bruce. 2008. Engaging Audiences. A Cognitive Approach to Spectating in the Theatre. New York: Palgrave Macmillan, 2008.
[16] MCCONACHIE, Bruce. 2013. Theatre and Mind. New York: Palgrave Macmillan, 2013.
[17] MCCONACHIE, Bruce a Elizabeth HART (eds.). 2006. Performance and Cognition. Theatre Studies and the Cognitive Turn. London/New York: Routledge, 2006.
[18] NELLHAUS, Tobin. 2006. Performance Strategies, Image Schemas, and Communication Frameworks. In Bruce McConachie a Elizabeth Hart (eds.). Performance and Cognition. Theatre Studies and the Cognitive Turn. London/New York: Routledge, 2006: 76–94.
[19] REASON, Matthew, Dee REYNOLDS, Marie-Hélène GROSBRAS a Frank E. POLLOCK. 2014. Researching Dance Across Disciplinary Paradigms: A Reflective Discussion of the Watching Dance Project. In Nicola Shaughnessy (ed.). Affective Performance and Cognitive Science. Body, Brain and Being. London/New Delhi/New York/Sydney: Bloomsbury, 2014: 39–56.
[20] SERESS, Ákos. 2012. Playing with Blends. Theatre Studies and Cognitive Turn. Apertúra. Dostupné na WWW http://uj.apertura.hu/2012/osz/seress-playing-with-blends-theatre-studies-and-cognitive-science/ [17. 10. 2013].
[21] SHAUGHNESSY, Nicola (ed.). 2014. Affective Performance and Cognitive Science. Body, Brain and Being. London/New Delhi/New York/Sydney: Bloomsbury, 2014.
[22] SCHWARZOVÁ, Monika. 2009. Úvod do kognitivní lingvistiky [Cognitive Linguistics: An Introduction]. Praha: Dauphin, 2009.
[23] SOFIA, Gabriele. 2010. Divadlo jako živý systém. Neurovědy, biologie a komplexita při studiu vztahu mezi hercem a divákem [Theatre as a Living System. Neurosciences, Biology, and Complexity in Studying the Actor–Spectator Relation]. Divadelní revue 21 (2010): 1: 53–67.
[24] TRIBBLE, Evelyn B. a John SUTTON. 2014. Introduction: Interdisciplinarity and Cognitive Approaches to Performance. In Nicola Shaughnessy (ed.). Affective Performance and Cognitive Science. Body, Brain and Being. London/New Delhi/New York/Sydney: Bloomsbury, 2014: 27–37.
[25] VELTRUSKÝ, Jiří. 1994. Příspěvek k sémiologii herectví [Note to Semiology of Acting]. In id. Příspěvky k teorii divadla [Notes to Theatre Theory]. Praha: Divadelní ústav, 1994: 117–162.
[2] BLAIR, Rhonda. 2006. Image and Action. Cognitive Neuroscience and Actor-training. In Bruce McConachie a Elizabeth Hart (eds.). Performance and Cognition. Theatre Studies and the Cognitive Turn. London/New York: Routledge, 2006: 167–185.
[3] CRANE, Mary Thomas. 2001. Shakespeare's Brain. Reading with Cognitive Theory. Princeton/Oxford: Princeton University Press, 2001.
[4] DAMASIO, Antonio. 2004. Hledání Spinozy. Radost, strast a citový mozek [In Search of Spinoza. Happiness, Sorrow, and Emotional Brain]. Praha: Dybbuk, 2004.
[5] EYSENCK, Michael W. a Mark KEANE. 2008. Kognitivní psychologie [Cognitive Psychology]. Praha: Academia, 2008.
[6] FAUCONNIER, Gilles a Mark TURNER. 2002. The Way We Think: Conceptual Blending and the Mind's Hidden Complexities. New York: Basic Books, 2002.
[7] JOHNSON, Mark. 1990. The Body in the Mind. The Bodily Basis of Meaning, Imagination, and Reason. Chicago: The University of Chicago Press, 1990.
[8] LAKOFF, George. 2006. Ženy, oheň a nebezpečné věci. Co kategorie vypovídají o naší mysli [Women, Fire, and Dangerous Things. What Cathgories Reveal About the Mind]. Překl. [Transl.] Dominik Lukeš. Praha: Triáda, 2006.
[9] LAKOFF, George a Mark JOHNSON. 1980. Metaphors We Live By. Chicago: The University of Chicago Press, 1980.
[10] LAKOFF, George a Mark JOHNSON. 2002. Metafory, kterými žijeme [Metaphors We Live By]. Brno: Host, 2002.
[11] LAKOFF, George a Mark JOHNSON. 2003. Metaphors We Live By. Chicago a London: The University of Chicago Press, 2003.
[12] LUTTERBIE, John. 2006. Neuroscience and Creativity in the Rehearsal Process. In Bruce McConachie a Elizabeth Hart (eds.). Performance and Cognition. Theatre Studies and the Cognitive Turn. London/New York: Routledge, 2006: 149–166.
[13] LUTTERBIE, John. 2011. Toward a General Theory of Acting. Cognitive Science and Performance. New York: Palgrave Macmillan, 2011.
[14] MCCONACHIE, Bruce. 2001. Doing Things with Image Schemas: The Cognitive Turn in Theatre Studies and the Problem of Experience for Historians. Theatre Journal 53 (2001): 4: 569–594. | DOI 10.1353/tj.2001.0115
[15] MCCONACHIE, Bruce. 2008. Engaging Audiences. A Cognitive Approach to Spectating in the Theatre. New York: Palgrave Macmillan, 2008.
[16] MCCONACHIE, Bruce. 2013. Theatre and Mind. New York: Palgrave Macmillan, 2013.
[17] MCCONACHIE, Bruce a Elizabeth HART (eds.). 2006. Performance and Cognition. Theatre Studies and the Cognitive Turn. London/New York: Routledge, 2006.
[18] NELLHAUS, Tobin. 2006. Performance Strategies, Image Schemas, and Communication Frameworks. In Bruce McConachie a Elizabeth Hart (eds.). Performance and Cognition. Theatre Studies and the Cognitive Turn. London/New York: Routledge, 2006: 76–94.
[19] REASON, Matthew, Dee REYNOLDS, Marie-Hélène GROSBRAS a Frank E. POLLOCK. 2014. Researching Dance Across Disciplinary Paradigms: A Reflective Discussion of the Watching Dance Project. In Nicola Shaughnessy (ed.). Affective Performance and Cognitive Science. Body, Brain and Being. London/New Delhi/New York/Sydney: Bloomsbury, 2014: 39–56.
[20] SERESS, Ákos. 2012. Playing with Blends. Theatre Studies and Cognitive Turn. Apertúra. Dostupné na WWW http://uj.apertura.hu/2012/osz/seress-playing-with-blends-theatre-studies-and-cognitive-science/ [17. 10. 2013].
[21] SHAUGHNESSY, Nicola (ed.). 2014. Affective Performance and Cognitive Science. Body, Brain and Being. London/New Delhi/New York/Sydney: Bloomsbury, 2014.
[22] SCHWARZOVÁ, Monika. 2009. Úvod do kognitivní lingvistiky [Cognitive Linguistics: An Introduction]. Praha: Dauphin, 2009.
[23] SOFIA, Gabriele. 2010. Divadlo jako živý systém. Neurovědy, biologie a komplexita při studiu vztahu mezi hercem a divákem [Theatre as a Living System. Neurosciences, Biology, and Complexity in Studying the Actor–Spectator Relation]. Divadelní revue 21 (2010): 1: 53–67.
[24] TRIBBLE, Evelyn B. a John SUTTON. 2014. Introduction: Interdisciplinarity and Cognitive Approaches to Performance. In Nicola Shaughnessy (ed.). Affective Performance and Cognitive Science. Body, Brain and Being. London/New Delhi/New York/Sydney: Bloomsbury, 2014: 27–37.
[25] VELTRUSKÝ, Jiří. 1994. Příspěvek k sémiologii herectví [Note to Semiology of Acting]. In id. Příspěvky k teorii divadla [Notes to Theatre Theory]. Praha: Divadelní ústav, 1994: 117–162.