theory (Mary Elizabeth Anderson). The final part of the book takes the reader on a tour of philosophies of consciousness. It begins with Doug Rosson’s reclamation of Martin Heidegger’s definition of Being, in his 1927 book Being and Time, in order to form a concept of performance, the performative, and the ‘Real’ that speaks to to an ‘authentic’ mode of being that relies on contemplative performance within theatre, as well as how this cognitive awareness operates as both a feature of theatre and that which consciousness desires from theatre. The essays in these two sections will serve anyone interested in the larger philosophical and theoretical issues of the theatrical and performance arts. Embodied Consciousness provides an impressive look at the possibilities of integrating consciousness studies into theatre and performance. The essays share a common vocabulary while also staking claims in a diverse array of theatrical and performance concerns. The collection spurs questions and leaves room for additional exploration in the study of presence, technologically mediated performance, and historiography, among others. This volume will be of great value to theatre and performance scholars seeking to engage cognitive neuroscience to answer fundamental questions about the nature of performance.

中文翻译：

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剧场中的观众参与：加雷斯怀特的邀请美学

理论（玛丽·伊丽莎白·安德森）。本书的最后一部分将带领读者参观意识哲学。它始于道格·罗森 (Doug Rosson) 在 1927 年出版的《存在与时间》(Being and Time) 一书中重申马丁·海德格尔 (Martin Heidegger) 对存在的定义，目的是形成一种表演、表演性和“真实”的概念，与“真实”的存在模式相联系依赖于戏剧中的沉思表演，以及这种认知意识如何作为戏剧的特征和意识对戏剧的渴望而运作。这两个部分的文章将为任何对戏剧和表演艺术的更大哲学和理论问题感兴趣的人提供服务。具身意识提供了将意识研究整合到戏剧和表演中的可能性的令人印象深刻的看法。这些文章共享一个共同的词汇，同时也在各种各样的戏剧和表演问题上提出主张。该系列激发了问题，并为在场、技术中介表演和历史编纂等研究中的进一步探索留下了空间。本书对于寻求使用认知神经科学来回答有关表演本质的基本问题的戏剧和表演学者来说具有重要价值。