-Towards a 20 th Century History of Relationships between Theatre and Neuroscience1 -This article considers some preliminary reflections in view of a 20 th century theatre-and-neuroscience history. Up to now, the history of the 20 th century theatre has been too fragmentary and irregular, missing out on the subterranean links which, either directly or indirectly, bound different experiences. The article aims to put in evidence the recurrent problems of these encounters. The hypothesis of the essay concerns the possibility of gathering and grouping a great part of the relationships between theatre and neuroscience around four trajectories: the physiology of action, the physiology of emotions, ethology, and studies on the spectator's perception. Keywords: Theatre History. Neuroscience. Physiology. Ethology. Spectator. RÉSUMÉ -Vers une Histoire des Relations entre Théâtre et Neurosciences au XXeSiècle -L'objectif de l'article est de poser des hypothèses de départ et des réflexions en vue d'une histoire du théâtre et des neurosciences au XX e siècle. L'historiographie du théâtre du XX e siècle a considéré jusqu'ici que ces relations étaient trop fragmentées et hétérogènes et n'a pas su voir les liens souterrains, directs et indirects entre ces diverses expériences. Le but de l'article est de mettre en évidence les problèmes récurrents de ces rencontres. L'article réfléchit donc sur la possibilité de rassembler la plus part des rencontre entre théâtre and neurosciences autour de quatre thèmes principales: la physiologies de l'action, la physiologie des émotions, l'éthologie et les études sur la perception du spectateur. Mots-clés: Histoire du Théâtre. Neurosciences. Physiologie. Éthologie. Spectateur. RESUMO -Por uma História das Relações entre Teatro e Neurociência no SéculoXX -Este artigo aborda algumas reflexões preliminares referentes à história do teatro e da neurociência no século XX. Até agora, a história do teatro no século XX era demasiadamente fragmentada e irregular, perdendo-se nas conexões subterrâneas que, direta ou indiretamente, ligavam diferentes experiências. O artigo pretende colocar em evidência os problemas recorrentes desses encontros. A hipótese do ensaio refere-se à possibilidade de reunir e agrupar grande parte das relações entre teatro e neurociência em torno de quatro trajetórias: a fisiologia da ação, a fisiologia das emoções, a etologia e os estudos sobre a percepção do espectador. Palavras-chave: História do Teatro. Neurociência. Fisiologia. Etologia. Espectador.
RESUMO -Teatro e Neurociência: da intenção dilatada à experiência performativa do espectador -Este texto trata do estudo do teatro como relação intersubjetiva entre seres humanos e põe em evidência o diálogo com as recentes pesquisas das neurociências cognitivas. Apresenta-se uma comparação entres esses dois campos disciplinares e guia-se tal comparação a partir da pergunta: se o ator em cena organiza o próprio sistema corpo-mente de maneira diferente, é possível estudar essa diferença do ponto de vista neurocientífico? Discute-se a resposta para essa pergunta a partir da necessidade da formulação de algumas hipóteses teóricas que preparam e encaminham as experimentações: a intenção dilatada, a ambiguidade do ator, a co-constituição do espaço cênico e a experiência performativa do espectador. Palavras-chave: Ator. Espectador. Neurociências. Fenomenologia. Intersubjetividade.ABSTRACT -Theatre and Neurosciences: from expanded intention to the spectator's performative experience -This text deals with the study of theatre as intersubjective relationships between human beings, highlighting the dialogue with researches in cognitive neurosciences. It presents a comparison between these two disciplines, guided by the question: if the actor on stage organizes his own body-mind system in a different way, is it possible to study this difference in terms of neuroscience? It discusses the answer to that question from the need to formulate theoretical hypotheses to prepare and forward experimentations: expanded intention, ambiguity of the actor, the co-constitution of scenic space and the spectator's performative experience. Keywords: Actor. Spectator. Neurosciences. Phenomenology. Intersubjectivity. RÉSUMÉ -Théâtre et Neurosciences: de l'intention dilatée à l'expérience performative du spectateur -Ce texte envisage l'étude du théâtre comme une relation intersubjective entre les êtres humains et propose, dans cette perspective, un dialogue avec les recherches récentes en neurosciences cognitives. Il met en place une comparaison entre ces deux champs disciplinaires. Cette analyse comparative est guidée par la question: si l'acteur sur scène organise son propre système corps-esprit de manière différente, est-il possible d'étudier cette différence d'un point de vue neuroscientifique ? Pour tenter d'y répondre, l'auteur formule quelques hypothèses théoriques qui préparent et qui conduisent aux expérimentations : l'intention dilatée, l'ambigüité de l'acteur, la co-constitution de l'espace scénique et l'expérience performative du spectateur.
When I approached professor Gilberto Icle with the proposal to dedicate a thematic section on Theatre and Neuroscience in the Brazilian Journal on Presence Studies, he asked me not to contact scholars who had already been published by the journal. On the one hand, such a request prevented me from contacting some scholars who have always worked on such a theme, but, on the other hand, this allowed me to dedicate good part of the thematic section to a new generation of researchers who, in the last years, have sought to connect theatre studies with cognitive neuroscience. As it is known, the interest of theatre cultures towards brain science is nothing new. What is new, however, is the way in which neuroscience has begun to study the human being as a deeply relational, necessarily intersubjective system. The advent of new fields of interdisciplinary investigation, such as, for instance, the so-called social neurosciences, highlights the need to overcome experimental paradigms which isolate the subject from the environment in favour of a study of cognitive mechanisms in situations of interaction with other individuals. In such a panorama, theatre cultures have not only found certain neuroscientific approaches to be more appropriate to the study of the actor-spectator relationship, but they have also shown how theatre can be a special space for the study of the relational potentials of the human being. In selecting contributions for this section, we have, therefore, chosen to especially represent this new phase of interdisciplinary investigations between performing arts and neuroscience. Enrico Pitozzi's article opens the section with a reflection on how new technologies influence the perceptive processes of performers and spectators. Analysing the creative practices of some contemporary choreographers, Pitozzi shows us how certain devices enable the performer to have a different perception of the self and of the spectator, thus multiplying the creative potentials of such perceptions. Pitozzi's article is followed by an essay in the form of a letter written by the performer and researcher Victor Jacono. Ambitious in its scope, the letter starts from the basic idea that both cognitive scientists and theatre researchers explore the potential of the human being's cognitive functions in their investigations. Even so, an adequate circulation of learning between the two fields is as yet lacking. The letter highlights the issues which render such a circulation
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