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Teatro e Neuroscienze 16, primavera 2007 [ESAURITO] TEATRO E NEUROSCIENZE L’apporto delle neuroscienze cognitive a una nuova teatrologia sperimentale A cura di Francesca Bortoletti Marco De Marinis Introduzione Richard Schechner What is needed today in the collaboration between performance theorists and the sciences Vittorio Gallese Il corpo teatrale: mimetismo, neuroni specchio, simulazione incarnata Maria Giulia Guiducci Teatro e neuroscienze: elementi per una neurobiologia della scena Jean-Marie Pradier Théâtre et neurosciences. Ou l’interminable aporie Richard Muscat - John J. Schranz What is it to be human? A theatre neuroscience perspective Antonello Colimberti Marcel Jousse e una “nuova teatrologia dei sensi” William O. Beeman The neurobiology of Opera Nicole Daunic Mirror neurons: the neurological threshold between stage and reality Ivar Hagendoorn Can dance be disgusting or is it forever doomed to aestheticism? Madeleine Barchevska BioArt training: the first building block of a newly powerful theatre. A practioner’s remarks about mirror neurons and the scientific and artistic implications of the discovery Francesca Bortoletti L’attore, lo specchio, lo spettatore. Una relazione mimetica 1 / 2

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Teatro e Neuroscienze

16, primavera 2007 [ESAURITO]TEATRO E NEUROSCIENZEL’apporto delle neuroscienze cognitive a una nuova teatrologia sperimentaleA cura di Francesca Bortoletti

Marco De MarinisIntroduzione

Richard SchechnerWhat is needed today in the collaboration between performance theorists and the sciences

Vittorio GalleseIl corpo teatrale: mimetismo, neuroni specchio, simulazione incarnata

Maria Giulia GuiducciTeatro e neuroscienze: elementi per una neurobiologia della scena

Jean-Marie PradierThéâtre et neurosciences. Ou l’interminable aporie

Richard Muscat - John J. SchranzWhat is it to be human? A theatre neuroscience perspective

Antonello ColimbertiMarcel Jousse e una “nuova teatrologia dei sensi”

William O. BeemanThe neurobiology of Opera

Nicole DaunicMirror neurons: the neurological threshold between stage and reality

Ivar HagendoornCan dance be disgusting or is it forever doomed to aestheticism?

Madeleine Barchevska BioArt training: the first building block of a newly powerful theatre. A practioner’s remarks about mirror neurons and the scientific and artistic implications of thediscovery

Francesca BortolettiL’attore, lo specchio, lo spettatore. Una relazione mimetica

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