Název: Cognitive Theatre Studies endeavours in Theatralia ten years later : editorial
Zdrojový dokument: Theatralia. 2025, roč. 28, č. 1, s. 7-14
Rozsah
7-14
-
ISSN1803-845X (print)2336-4548 (online)
Trvalý odkaz (DOI): https://doi.org/10.5817/TY2025-1-1
Trvalý odkaz (handle): https://hdl.handle.net/11222.digilib/digilib.82043
Type: Editorial; Ediční poznámka
Jazyk
anglicky
Licence: CC BY-NC-ND 4.0 International
Přístupová práva
otevřený přístup
Upozornění: Tyto citace jsou generovány automaticky. Nemusí být zcela správně podle citačních pravidel.
Reference
[1] BLAIR, Rhonda and John LUTTERBIE. 2011. Introduction: Journal of Dramatic Theory and Criticism's Special Section on Cognitive Studies, Theatre, and Performance. Journal of Dramatic Theory and Criticism 25 (2011): 2: 63–70. DOI: https://dx.doi.org/10.1353/dtc.2011.0020. | DOI 10.1353/dtc.2011.0020
[2] BLAIR, Rhonda. 2008. The Actor, Image, and Action: Acting and Cognitive Neuroscience. London/New York: Routledge, 2008.
[3] CHRZ, Vladimír, Jan SLAVÍK and Stanislav ŠTECH (eds.). 2013. Tvorba jako způsob poznávání [Creation as a Way of Cognition]. Prague: Karolinum, 2013.
[4] CIESIELSKI, Tomasz. 2016. Contemporary Dance Theatre in Neurocognitive Perspective – Granhøj Dans Case. Theatralia 19 (2016): 2: 76–90. DOI: https://doi.org/10.5817/TY2016-2-4. | DOI 10.5817/ty2016-2-4
[5] COOK, Amy. 2010. Shakespearean Neuroplay: Reinvigorating the Study of Dramatic Texts and Performance through Cognitive Science. New York: Palgrave Macmillan, 2010. DOI: https://doi.org/10.1057/9780230113053.
[6] ETLÍK, Jaroslav. 2011. Theatre as Experience. On the Relationship Between the Noetic and Ontological Principles in Theatre Art. In Czech Theatre Review 1989–2009. Prague: Arts and Theatre Institute, 2011: 181–223.
[7] FALLETTI, Clelia, Gabriele SOFIA and Victor JACONO (eds.). 2016. Theatre and Cognitive Neuroscience. London: Bloomsbury, 2016.
[8] HAVLÍČKOVÁ KYSOVÁ, Šárka. 2015. Metafory, kterými hrajeme: perspektivy a meze české kognitivní teatrologie [Metaphors We Act By. Perspectives and Limits of Czech Cognitive Theatre Studies]. Theatralia 18 (2015): 1: 65–84. DOI: https://doi.org/10.5817/TY2015-1-4. | DOI 10.5817/ty2015-1-4
[9] HAVLÍČKOVÁ KYSOVÁ, Šárka. 2016. Stage Metaphors in Verdi's Otello: Miloš Wasserbauer's State Theatre Production (Brno 1967) in the Context of Otello's Staging Tradition. Theatralia 19 (2016): 2: 29–58. DOI: https://doi.org/10.5817/TY2016-2-2. | DOI 10.5817/ty2016-2-2
[10] HAVLÍČKOVÁ KYSOVÁ, Šárka. 2023. Acting Method as an (Embodied) Worldview. Theatralia 26 (2023): 1: 115–117. DOI: https://doi.org/10.5817/TY2023-1-8. | DOI 10.5817/ty2023-1-8
[11] KEMP, Rick and Bruce MCCONACHIE (eds.). 2019. The Routledge Companion to Theatre, Performance and Cognitive Science. London/New York: Routledge, 2019.
[12] LASKE, Otto E. 1988. Introduction to Cognitive Musicology. Computer Music Journal 12 (1988): 1: 43–57. DOI: https://doi.org/10.2307/3679836. | DOI 10.2307/3679836
[13] MCCONACHIE, Bruce and F. Elizabeth HART (eds.). 2006. Performance and Cognition: Theatre Studies and the Cognitive Turn. London/New York: Routledge, 2006.
[14] MOTAL, Jan. 2016. Cognitive Phenomenology: The Promising Pragmatic Marriage of Methodologies in the Field of Theatre Studies? Theatralia 19 (2016): 2: 59–75. DOI: https://doi.org/10.5817/TY2016-2-3. | DOI 10.5817/ty2016-2-3
[15] OSOLSOBĚ, Ivo. 1992. Cours de théâtristique générale čili Kurs obecné teatristiky [Cours de théâtristique générale or Course of General Theatristic]. Divadelní revue 2 (1992): 1: 29–43. | DOI 10.7202/500525ar
[16] SHURMA, Svitlana and Wei-lun LU. 2016. A Cognitive Poetic Analysis of LIFE and DEATH in English and Ukrainian: A Multiple-Parallel-Text Approach to Hamlet's Soliloquy. Theatralia 19 (2016): 2: 9–28. DOI: https://doi.org/10.5817/TY2016-2-1. | DOI 10.5817/ty2016-2-1
[17] SOFIA, Gabriele. 2010. Divadlo jako živý systém. Neurovědy, biologie a komplexita při studiu vztahu mezi hercem a divákem [Theatre as a Living System. Neuroscience, Biology and Complexity in the Study of Actor-Spectator Relationship]. Divadelní revue 21 (2010): 1: 53–67.
[18] ZICH, Otakar. 2024. Aesthetics of the Dramatic Art: Theoretical Dramaturgy. Ed. and transl. by David Drozd, Pavel Drábek and Tomáš Kačer. Prague: Charles University, Karolinum Press, 2024. | DOI 10.2307/jj.27939636
[2] BLAIR, Rhonda. 2008. The Actor, Image, and Action: Acting and Cognitive Neuroscience. London/New York: Routledge, 2008.
[3] CHRZ, Vladimír, Jan SLAVÍK and Stanislav ŠTECH (eds.). 2013. Tvorba jako způsob poznávání [Creation as a Way of Cognition]. Prague: Karolinum, 2013.
[4] CIESIELSKI, Tomasz. 2016. Contemporary Dance Theatre in Neurocognitive Perspective – Granhøj Dans Case. Theatralia 19 (2016): 2: 76–90. DOI: https://doi.org/10.5817/TY2016-2-4. | DOI 10.5817/ty2016-2-4
[5] COOK, Amy. 2010. Shakespearean Neuroplay: Reinvigorating the Study of Dramatic Texts and Performance through Cognitive Science. New York: Palgrave Macmillan, 2010. DOI: https://doi.org/10.1057/9780230113053.
[6] ETLÍK, Jaroslav. 2011. Theatre as Experience. On the Relationship Between the Noetic and Ontological Principles in Theatre Art. In Czech Theatre Review 1989–2009. Prague: Arts and Theatre Institute, 2011: 181–223.
[7] FALLETTI, Clelia, Gabriele SOFIA and Victor JACONO (eds.). 2016. Theatre and Cognitive Neuroscience. London: Bloomsbury, 2016.
[8] HAVLÍČKOVÁ KYSOVÁ, Šárka. 2015. Metafory, kterými hrajeme: perspektivy a meze české kognitivní teatrologie [Metaphors We Act By. Perspectives and Limits of Czech Cognitive Theatre Studies]. Theatralia 18 (2015): 1: 65–84. DOI: https://doi.org/10.5817/TY2015-1-4. | DOI 10.5817/ty2015-1-4
[9] HAVLÍČKOVÁ KYSOVÁ, Šárka. 2016. Stage Metaphors in Verdi's Otello: Miloš Wasserbauer's State Theatre Production (Brno 1967) in the Context of Otello's Staging Tradition. Theatralia 19 (2016): 2: 29–58. DOI: https://doi.org/10.5817/TY2016-2-2. | DOI 10.5817/ty2016-2-2
[10] HAVLÍČKOVÁ KYSOVÁ, Šárka. 2023. Acting Method as an (Embodied) Worldview. Theatralia 26 (2023): 1: 115–117. DOI: https://doi.org/10.5817/TY2023-1-8. | DOI 10.5817/ty2023-1-8
[11] KEMP, Rick and Bruce MCCONACHIE (eds.). 2019. The Routledge Companion to Theatre, Performance and Cognitive Science. London/New York: Routledge, 2019.
[12] LASKE, Otto E. 1988. Introduction to Cognitive Musicology. Computer Music Journal 12 (1988): 1: 43–57. DOI: https://doi.org/10.2307/3679836. | DOI 10.2307/3679836
[13] MCCONACHIE, Bruce and F. Elizabeth HART (eds.). 2006. Performance and Cognition: Theatre Studies and the Cognitive Turn. London/New York: Routledge, 2006.
[14] MOTAL, Jan. 2016. Cognitive Phenomenology: The Promising Pragmatic Marriage of Methodologies in the Field of Theatre Studies? Theatralia 19 (2016): 2: 59–75. DOI: https://doi.org/10.5817/TY2016-2-3. | DOI 10.5817/ty2016-2-3
[15] OSOLSOBĚ, Ivo. 1992. Cours de théâtristique générale čili Kurs obecné teatristiky [Cours de théâtristique générale or Course of General Theatristic]. Divadelní revue 2 (1992): 1: 29–43. | DOI 10.7202/500525ar
[16] SHURMA, Svitlana and Wei-lun LU. 2016. A Cognitive Poetic Analysis of LIFE and DEATH in English and Ukrainian: A Multiple-Parallel-Text Approach to Hamlet's Soliloquy. Theatralia 19 (2016): 2: 9–28. DOI: https://doi.org/10.5817/TY2016-2-1. | DOI 10.5817/ty2016-2-1
[17] SOFIA, Gabriele. 2010. Divadlo jako živý systém. Neurovědy, biologie a komplexita při studiu vztahu mezi hercem a divákem [Theatre as a Living System. Neuroscience, Biology and Complexity in the Study of Actor-Spectator Relationship]. Divadelní revue 21 (2010): 1: 53–67.
[18] ZICH, Otakar. 2024. Aesthetics of the Dramatic Art: Theoretical Dramaturgy. Ed. and transl. by David Drozd, Pavel Drábek and Tomáš Kačer. Prague: Charles University, Karolinum Press, 2024. | DOI 10.2307/jj.27939636