Performing the Remembered Present

Pil Hansen is an Assistant Professor and Graduate Program Director at the School of Creative and Performing Arts, University of Calgary, Canada; a founding member of Vertical City Performance; and a dramaturg. Her empirical and PaR experiments examine cognitive dynamics of memory and perception in creative processes. With Bruce Barton, she developed the multi-disciplinary research model ‘Research-Based Practice’. Hansen chairs the PSi Working Group on Dramaturgy and Performance; her award-winning creative work has toured nationally and internationally; and her scholarly research is published in Connection Science, Journal of Dramatic Theory and Criticism, TDR: The Drama Review, Performance Research, Theatre Topics, and Koreografisk Journal among other journals and ten essay collections on dramaturgy, cognitive performance studies, and research methods. Hansen co-edited the essay collection Dance Dramaturgy: Modes of Agency, Awareness and Engagement (2015). Current and recent artistic collaborators are: Kaeja d’Dance, Theatre Junction Grand, Toronto Dance Theatre, and Public Recordings.Bettina Bläsing is a responsible investigator at the Center of Excellence Cognitive Interaction Technology (CITEC) at Bielefeld University, Germany. She studied Biology at Bielefeld University and Applied Animal Behaviour and Welfare at the University of Edinburgh, Scotland. Bettina worked as science journalist and editor, and as a postdoctoral researcher at the Max Planck Institute for Evolutionary Anthropology and University of Leipzig before joining the Neurocognition and Action Research Group at Bielefeld University in 2006. Her main research interests are mental representations of body, movement and space; the control and learning of complex movements and manual actions; and expertise in dance.

• List of IllustrationsNotes on Contributors1. Introduction: Studying the Cognition of Memory in the Performing Arts- Pil Hansen and Bettina Bläsing (University of Calgary, Canada and Bielefeld University, Germany)PART I) Overview: Memory and the Performing Arts2. Memory and Dance: 'Bodies of Knowledge' in Contemporary Dance - Catherine J. Stevens (Western Sydney University, Australia)Review of insights from experimental psychology3. Memory in Music Listening and Performance - Jane Ginsborg (Royal Northern College of Music, UK)Cross-disciplinary review4. Distributed Cognition, Memory and Theatrical Performance - Evelyn Tribble (University of Otago, New Zealand)Analytical theory construction and reviewPART II) Learning to Perform from Memory: Effects of Embodiment, Analysis and Expertise5. Action, Memory and Meaning: Embodied Cognition and the Actor’s Fictional Present - Rick Kemp (Indiana University of Pennsylvania, USA)Analytical theory construction6. Learning Complex Actions Through Physical vs. Observational Experience: Implications and Applications for Dance and Other Performing Arts - Dilini K. Sumanapala and Emily S. Cross (Bangor University, UK)Neurocognitive review and quantitative experiment7. Analytical Aspects in Children’s Performance of Music from Memory - Anna Maria Bordin (Conservatory of Genoa, Italy)Mixed methods behavioural experimentPART III) Re/Constructing Embodied Memories: Relationships between Memory and Self in Performance8. Music Improvisation, Identity and Embodied Cognition - Robert J. Oxoby (University of Calgary, Canada)Quantitative, behavioural experiments9. Dancing With a Bullet: Moving into Memory with Music - Vahri McKenzie (Edith Cowan University, Western Australia) Qualitative case study10. Already Seen, Already Heard, Already Visited: Constructing the Experience of Déjà States within Live Intermedial Performance - Deidre McLaughlin and Joanne Scott ( The Royal Central School of Speech and Drama, UK and University of Salford, UK)Practice as Research investigationNotesReferencesIndex

Adds to an evolving field of study that explores the relationship between the performing arts and cognition, with an emphasis on the cognition of memory ... [and] makes a seminal contribution to the field of cognition and performance and serves as a necessary bridge between performing arts and the sciences.