The Nature Of Expertise In Professional Acting

For nearly 25 years, expertise has been considered an important testing ground for theories of cognition. Cognitive scientists have examined experts as diverse as chess masters, waiters, field-hockey players, and computer programmers. Recently, increased attention has been given to the arts, including dance, music appreciation and performance, and literary analysis. It is therefore somewhat surprising that--except for the authors' program of research dating from the late 1980s--virtually no studies on the cognitive processes of professional actors can be found in the literature. These experts not only routinely memorize hours of verbal material in a very short time, but they retrieve it verbatim along with the accompanying gestures, movements, thoughts, and emotions of the characters. The mental processes involved in this task constitute the subject of this recent research and are described in detail in this book.

For nearly 25 years, expertise has been considered an important testing ground for theories of cognition. Cognitive scientists have examined experts as diverse as chess masters, waiters, field-hockey players, and computer programmers. Recently, increased attention has been given to the arts, including dance, music appreciation and performance, and literary analysis. It is therefore somewhat surprising that--except for the authors' program of research dating from the late 1980s--virtually no studies on the cognitive processes of professional actors can be found in the literature. These experts not only routinely memorize hours of verbal material in a very short time, but they retrieve it verbatim along with the accompanying gestures, movements, thoughts, and emotions of the characters. The mental processes involved in this task constitute the subject of this recent research and are described in detail in this book.

Expertise, Pedagogy and Practice takes as its focus recent work on situated and embodied cognition, the concepts of expertise, skill and practice, and contemporary pedagogical theory. This work has made important steps towards overcoming traditional intellectualist and individualist models of cognition, group interaction and learning, but has in turn generated a number of important questions about the shape of a model that emphasizes learning and interaction as situated and embodied. Bringing together philosophers, cognitive scientists and education theorists, the collection asks and explores a variety of different questions. Can a group learn? Is expertise distributed? How can we make sense of a normative dimension of expertise or skill? How situation-specific is expertise? How can groups shape or generate expert practice? Through these lenses, this collection advances a more experientially holistic approach to the characterisation and growth of human expertise. This book was originally published as a special issue of Educational Philosophy and Theory.

Understanding what constitutes expertise in language learning and teaching is important for theoretical reasons related to psycholinguistic, and applied linguistic, enquiry. It also has many significant applications in practice, particularly in relation to the training and practice of language teachers and improvements in students' strategies of learning. In this volume, methodologies for establishing what constitutes expert practice are discussed and the contributions address the fields of listening, reading, writing, speaking and communication strategies, looking at common characteristics of the 'expert teacher' and the 'expert learner'.

Inclusivity and Equality in Performance Training focuses on neuro and physical difference and dis/ability in the teaching of performance and associated studies. It offers 19 practitioners’ research-based teaching strategies, aimed to enhance equality of opportunity and individual abilities in performance education. Challenging ableist models of teaching, the 16 chapters address the barriers that can undermine those with dis/ability or difference, highlighting how equality of opportunity can increase innovation and enrich the creative work. Key features include: Descriptions of teaching interventions, research, and exploratory practice to identify and support the needs and abilities of the individual with dis/ability or difference Experiences of practitioners working with professional actors with dis/ability or difference, with a dissemination of methods to enable the actors A critical analysis of pedagogy in performance training environments; how neuro and physical diversity are positioned within the cultural contexts and practices Equitable teaching and learning practices for individuals in a variety of areas, such as: dyslexia, dyspraxia, visual or hearing impairment, learning and physical dis/abilities, wheelchair users, aphantasia, attention-deficit/hyperactivity disorder and autistic spectrum. The chapter contents originate from practitioners in the UK, USA and Australia working in actor training conservatoires, drama university courses, youth training groups and professional performance, encompassing a range of specialist fields, such as voice, movement, acting, Shakespeare, digital technology, contemporary live art and creative writing. Inclusivity and Equality in Performance Training is a vital resource for teachers, directors, performers, researchers and students who have an interest in investigatory practice towards developing emancipatory pedagogies within performance education.

This volume is comprised of papers presented at an ETS conference in 1997. It reviews insights of leading authorities regarding cognition and personality as domains of human functions to provide groundwork for education reforms.

One of a series discussing topics of interest in theatre studies from theoretical, methodological, philosophical and historical perspectives. The books are aimed at drama and theatre teachers, advanced students in schools and colleges, arts authorities, actors, playwrights, critics and directors.

This reader offers articles that students can relate to several different facets of cognition, as well as other sub-disciplines of psychology. Topics such as the distinction between top-down and bottom-up processing, divided attention, proactive interference, language learnability, and expertise are presented in these up-to-date, highly informative, and interesting articles. This is a research reader students will find interesting, applicable, and extremely relevant to their course and lives. Students will get a good deal of exposure to the fundamental concepts that have helped define the field of cognitive psychology.

The Routledge Companion to Theatre, Performance and Cognitive Science integrates key findings from the cognitive sciences (cognitive psychology, neuroscience, evolutionary studies and relevant social sciences) with insights from theatre and performance studies. This rapidly expanding interdisciplinary field dynamically advances critical and theoretical knowledge, as well as driving innovation in practice. The anthology includes 30 specially commissioned chapters, many written by authors who have been at the cutting-edge of research and practice in the field over the last 15 years. These authors offer many empirical answers to four significant questions: How can performances in theatre, dance and other media achieve more emotional and social impact? How can we become more adept teachers and learners of performance both within and outside of classrooms? What can the cognitive sciences reveal about the nature of drama and human nature in general? How can knowledge transfer, from a synthesis of science and performance, assist professionals such as nurses, care-givers, therapists and emergency workers in their jobs? A wide-ranging and authoritative guide, The Routledge Companion to Theatre, Performance and Cognitive Science is an accessible tool for not only students, but practitioners and researchers in the arts and sciences as well.