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Amy Cook@ProfAECook
Professional Appointments
Artistic Director
Department of Theatre Arts, Stony Brook University (June 2016-present)
Graduate Director
Department of Theatre Arts, Stony Brook University (Fall 2015-present)
Associate Professor
Department of Theatre Arts, Stony Brook University and
Department of English (25%), Stony Brook University (Fall 2014-present)
Affiliate in Consortium for Digital Arts, Culture, and Technology
Department of Theatre and Drama, Indiana University (2008-2014)
Affiliate professor in Cognitive Science Program (2009-2014)
Affiliate professor in Cultural Studies Program (2012-2014)
Andrew W. Mellon Postdoctoral Fellow
Theater Studies, Emory University (2006-2008)
Education
Ph.D., Theatre and Dance, Summer 2006University of California, San Diego and University of California, Irvine Joint Ph.D. program in Theatre and Drama
Dissertation: “Shakespeare, the Illusion of Depth, and the Science of Parts: An integration of cognitive science and performance studies.”
Committee:Bryan Reynolds, Professor of Drama at UCI (chair), Jim Carmody, Associate Professor
of Theatre and Dance at UCSD, Janet Smarr, Professor of Theatre and Dance at UCSD, Louis Montrose, Professor of Literature at UCSD, Gilles Fauconnier, Professor of Cognitive Science at UCSD, Mary Thomas Crane, Professor of English at Boston College.
B.A., Theatre Directing and Psychology, magna cum laude, 1992University of Michigan, Ann ArborHonors Program with self-designed individual concentration in theatre directing and psychology.
Cook, curriculum vita
Publications
MonographsShakespearean Neuroplay: Reinvigorating the Study of Dramatic Texts and Performance
Through Cognitive Science. New York: Palgrave Macmillan, 2010.
Casting: The Art and Science of Building Character under review at University of Michigan Press.
Edited booksTheatre, Performance and Cognition: Languages, Bodies and Ecologies, Eds. Rhonda
Blair and Amy Cook. London: Methuen, 2016.
Works in process“Embodied, Embedded, Enacted and Extended: Cognitive Approaches to the
Humanities,” The Oxford Handbook of 4e Cognition. Eds. A. Newen, L. de Bruin and S. Gallagher. Oxford: Oxford University Press, forthcoming.
“Language and Cognition,” The Cambridge Companion to Shakespeare’s Language. Lynne Magnusson and David Schalkwyk, eds Cambridge: Cambridge University Press, forthcoming.
“Reading in Time: Cognitive Dynamics, Stephen Booth, and the Literary Experience of Shakespeare,” co-authored with Seth Frey, requested by Critical Survey.
“Emergence, presence, meaning, and a show of hands,” The Routledge Companion to Theatre, Performance, and Cognitive Science, requested by editors Bruce McConachie and Rick Kemp.
Peer-review journal articles“For Hecuba or for Hamlet: Rethinking Emotion and Empathy in the Theatre,” Eds.
Rhonda Blair and John Lutterbie. Journal of Dramatic Theory and Criticism, Vol. 25, No. 2, Spring 2011.
“Wrinkles, Wormholes, and Hamlet: Looking at The Wooster Group’s Hamlet as a manifestation of science and a challenge to periodicity,” TDR 53, no. 4 (Winter 2009): 92-103.
“Interplay: The Method and Potential of a Cognitive Scientific Approach to Theatre,” Theatre Journal, special issue on Performance and Cognition, December 2007.
“Staging Nothing: Hamlet and Cognitive Science,” SubStance #10, Vol. 35, no. 2, 2006.
Chapters in (peer-reviewed) edited volumes“King of Shadows: Early Modern Characters and Actors,” Shakespeare and
Consciousness. Eds. Paul Budra and Clifford Werier. London: Palgrave Macmillan, 2016.
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Cook, curriculum vita
“Bodied Forth: A cognitive scientific approach to performance analysis,” The Oxford Handbook of Dance and Theater. Ed. Nadine George Graves. Oxford: Oxford University Press, June 2015.
“Touching Texts and Embodied Performance,” Affective Performance and Cognitive Science: body, brain and being, by Nicola Shaughnessy. London: Methuen, 2013. (Editor of section and author of introduction for the section.)
“The Narrative of Nothing: the Mathematical Blends of Narrator and Hero in Shakespeare’s Henry V,” Blending and the Study of Narrative. Eds. Ralf Schneider and Marcus Hartner. Berlin: de Gruyter, 2012.
“If: Lear’s Feather and the Staging of Science,” The Return to Theory in Early Modern English Studies: Tarrying with the Subjunctive. Eds. Bryan Reynolds and Paul Cefalu. New York: Palgrave Macmillan, 2011.
“Cognitive Interplay: How Blending Theory and Cognitive Science Reread Shakespeare,” Language and Shakespeare. Eds. Mireille Ravassat and Jonathan Culpeper. London: Continuum Press, 2011.
“Staging Nothing: Hamlet and Cognitive Science,” republished in Hamlet: William Shakespeare (Bloom’s Modern Critical Interpretations). Ed. Harold Bloom. New York: Chelsea House Pub., 2009.
“Comedic Law: Projective Transversality, Deceit Conceits, and the Conjuring of Macbeth and Doctor Faustus in Jonson’s The Devil is an Ass,” (with Bryan Reynolds). Bryan Reynolds, Transversal Enterprises in the Drama of Shakespeare and his Contemporaries: Fugitive Explorations. London: Palgrave Macmillan, 2005.
Journal articles and reviews“Absent,” Performance Review of dreamthinkspeak’s production directed by Tristan
Sharps at Shoreditch Town Hall, London, Theatre Journal, 2016.
Review of Shakespeare, Rhetoric and Cognition (2011) by Raphael Lyne, Renaissance Quarterly, Vol. 65, No. 2 (Summer 2012), 637-38.
Review of Cognition in the Globe: Attention and Memory in Shakespeare's Theatre (2011) by Evelyn Tribble, Theatre Research International, July 2012.
All My Sons program guide for Cardinal Stage, Bloomington, Indiana; October 2011.
Review of Actor, Image, Action (2008) by Rhonda Blair for Modern Drama, Volume 52, Number 1, Spring 2009; 124-126.
“Staging Science: Teaching, and learning from, the interdisciplinary class,” Emory’s Academic Exchange, September 2007, Vol. 10, #1.
“The Dangers of the New Scarlet S” Early Modern Literary Studies 10.3. January, 2005; 1-5. <URL: http://purl.oclc.org/emls/10-3/cooksubj.html>.
“Beauty” Performance Review of Tina Landau’s Beauty at La Jolla Playhouse. Theatre Journal Vol. 56, Number 2, May 2004; 311-313.
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Cook, curriculum vita
“Shuteye: PigIron’s physical rumination on sleep,” TheatreForum, Summer/Fall 2003; 58-61.
Invitations to SpeakSession co-leader (with Mary Crane), “Cognition and Embodied Language,” Folger
Institute’s “Shakespeare’s Language” symposium, April 2015.
Dedman College Interdisciplinary Institute Faculty Seminar on “The Situated Self,” Southern Methodist University, Dallas, TX, October 2014.
Kavli Institute for Brain and Mind at University of California, San Diego, March 2013.
Fourth Annual International Crime, Media & Popular Culture Studies Conference: A Cross Disciplinary Exploration, Indiana State University, September 2012.
Memory, Emotion and the Disciplines Conference, Humanities Institute, Stony Brook University, March 2012.
Project Narrative, Ohio State University, February 2012.
Institute of Cognitive and Brain Sciences at the University of California, Berkeley, March 2011.
Mini University, Indiana University, June 2010 and 2013.
Robert Goldstone, cognitive science lab, Indiana University, October 2009.
Center for Cognitive Literary Studies at Purdue, October 2009.
Center for Mind, Brain, and Culture, Emory University, February 2009.
Conference Presentation s “Winter of our Discontent: our cognitive future,” Cognitive Futures Conference,
Helsinki, Finland, June 2016.
“Shakespeare and Cognition,” Seminar leader at Shakespeare Association of America, New Orleans, LA, March 2016.
“Urgent Interdisciplinarity: High Stakes in Theatre Studies and the Cognitive Sciences,” Plenary panel speaker at ASTR conference, Portland, OR, Nov. 2015.
“Looking back on us: blending time while building character,” Cognitive Futures Conference, Oxford, UK; April 2015.
“Building Character: the aesthetic experience and cognitive casting,” Cognitive Futures Conference, Durham, UK; April 2014.
“Collaborative engagement and audience entrainment,” Cognitive Futures Conference, Bangor, Wales; April 2013.
“‘Bodied Forth:’ conceptual blending and gesture in Shakespeare,” Conceptual Structure Discourse and Language Conference, Vancouver, Canada; May 2012.
“Lavinia’s Tongue: pain and empathy on page, stage, and screen; Part One: Compression, getting the whole from the parts,” Shakespeare Association of America, Boston, MA; April 2012.
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Cook, curriculum vita
“Staging distributed cognition: Anna Deavere Smith’s documentary theatre and the new American conception of self,” Modern Languages Association, Seattle, WA, January 2012.
“The Colon-ization of Character and Actor: conceptual blending, embodied cognition, and the performance of eating onstage,” Performance Studies International, Utrecht, Netherlands, May 2011.
“Unblending Nothing and Getting Something: The Story of Nothing in Shakespeare’s Henry V,” International Society for the Study of Narrative, Cleveland, OH, April 2010.
“Shakespearean Immortality,” ATHE conference, Los Angeles, CA, August 2010.
“Empathy, Embodiment and the Theatrical Event,” ATHE conference, Los Angeles, CA, August 2010.
“An Eye of You -- an Eye of View: Embodied Language and the Performance of Empathy," ASTR conference, San Juan, Puerto Rico, November 2009.
“Cognitive Linguistics and Gesture,” ATHE conference, New York, NY, August 2009. Participant on the “Current Developments in Performance and Cognitive Neuroscience” panel.
“Conceptual Blending Theory and Shakespeare’s Henry V,” delivered a plenary talk at Theatre and Cognitive Science symposium at University of Pittsburgh, PA, Feb. 2009.
“TBD on DNA,” ASTR conference, Boston, MA, 2008. Participant in the Cognitive Studies in Theatre and Performance Working Group.
“Hamlet’s Mirror,” Shakespeare and the Blending Mind, April 2008. Invited to present research (with Bruce McConachie, Liz Hart, Mark Turner, and Gilles Fauconnier) at symposium organized at Haverford College with support of John B. Hurford Humanities College.
“Neuroplay,” ASTR conference, Phoenix, AZ, 2007. Participant in the Cognitive Studies in Theatre and Performance Research Group.
“Unblending,” ATHE conference, New Orleans, LA, 2007. Chaired and coordinated this panel on conceptual blending theory and the emergent structure of language and performance.
“Seeing the wholes in our parts: performance, perspective, phantom limbs, and autism,” ASTR conference, Chicago, IL, 2006.
“Making up Our Minds and Speaking in Tongues,” ATHE conference, Chicago, IL, 2006. Coordinated panel called “Interdisciplinary Encounters II: evaluating the impact of cognitive science on acting, consciousness, and performance theory.”
“‘I am Laertes. I am. I am.’ Perspective, mirror neurons, and the cognitive science of Transversal theory,” Transversalities conference, Reading, UK, 2005.
“Going to the water: Looking at drowning in Hamlet through a cognitive linguistic lens,” ATHE conference, San Francisco, CA, 2005.
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Cook, curriculum vita
“Cognitive science as barium milkshake: ‘Shakespeare in the Bush’, reconsidered,” UCSD/UCI/UCLA/UCSB Theater Studies conference, San Diego, CA, 2005.
“The Colon-ization of Character: what cognitive science displays when eating takes the stage,” Group for Early Modern Cultural Studies (GEMCS) conference, Orlando, FL, 2004.
“The Troubled Double: reading Hamlet’s mirror through a cognitive linguistic lens,” Society for Literature and Science (SLS) annual meeting, Durham, NC, 2004.
“Conjuring the Equivocators: The Ghosts of Doctor Faustus and Macbeth in Jonson’s The Devil is an Ass,” GEMCS conference, Newport Beach, CA, 2003.
“The Phantom in the Mirror: The Dislodging of Identity in Jean Genet’s The Balcony,” English Students’ Association conference, The CUNY Graduate Center, NYC, 2002.
Commissions“Bones.” Commissioned to conduct interviews and compose this documentary theater
production on race at Emory premiered during Theater Emory’s Brave New Works Festival in February 2009.
Awards, Honors, and Grants Presidential Travel Grant, 2016.
FAHSS Interdisciplinary Grant for the Cognitive Speakers Series, 2015-2016.
Selected to be on the FACET Bloomington Faculty Leadership Team, 2012.
Selected to participate in “Engaging Differences,” a faculty learning community, 2012.
Teaching Trustee Award, Indiana University, Department of Theatre and Drama, 2012.
New Frontiers Exploratory Travel Grant, 2012.
IU CAHI Travel Grant, 2012.
Participant in Remak New Knowledge Seminar on Moral Reasoning, 2012-2013.
Selected to participate in the Institute for Advanced Study/Poynter Center Empathy Workshop, 2009-2010.
Humanities Dissertation Research Grant (2005).
University Predoctoral Humanities Fellowship (2001-2002; 2004-2005).
Teaching ExperienceAssociate Professor, Stony Brook UniversityGraduate Seminar:EGL 502: Shakespeare, Fall 2015Undergraduate course:
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Cook, curriculum vita
EGL 243: Shakespeare: The Master WorksTHR 214/523 Theatre in New York, Spring 2016THR 380: Creative Process, Fall 2015THR 104: Play Analysis, Fall 2014, Spring 2016, Fall 2016.
Associate Professor, Indiana UniversityGraduate Seminar:Studies in Renaissance and Baroque Theatre, Fall 2013Cognitive Approaches to the Arts and Humanities, Spring 2014Introduction to Graduate Studies, Fall 2013
Undergraduate course:Theatre and Drama 461, Fall 2013 and Spring 2014. An Intensive Writing course on Language in Shakespeare.
Asst. Professor, Indiana UniversityGraduate Seminars:Cognitive Approaches to the Arts and Humanities, Spring 2013
This seminar was designed to introduce graduate students from different disciplines to the research and scholarship happening at the intersection of cognitive science and the arts and humanities.
Performance Analysis, Fall 2012This course, team-taught with Ellen MacKay of the English Department, provided students from both the English Department and the Theatre Department an introduction to performance studies and writing about performance. The seminar was intended to assay a number of solutions to the problem, how does criticism think with, respond to, document, engage and otherwise develop from performance? In order to work out best practices in the documentation of performance, we reconstructed productions from theatrical archives and produced archives of the theatrical performances we attended, both in Bloomington and during a fieldtrip to see productions in Chicago.
Shakespeare: Page, stage, and screen, Fall 2011This course provided an in-depth look at the plays from the perspective of the performance of which they are (an unreliable) record. We studied the performance conditions of the early modern period, the textual history of the plays, and scrutinized the language of the plays for signs of the performance it commands. Students created a final film presentation in addition to a final paper.
20th Century Theory – the act and the audience, Spring 2011This course read key theoretical texts from the twentieth century on acting, perception, and performance and in this way investigated how theatre has staged and challenged what it means to be human in the 20th century.
Trauma and Laughter on the Greek and Roman Stage, Fall 2010Reading tragedies and comedies of the Greek and Roman stage against theories of trauma and laughter, we examined the nature of the violent or comedic event as well as the physical responses they elicit from their audiences.
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Cook, curriculum vita
Bard-olatry, Spring 2010This seminar studied the plays of Shakespeare with contemporary productions and plays based on Shakespeare.
Performed Language, Fall 2009This interdisciplinary graduate class examines the importance of embodied language in performance and theatre.
Studies in Ren & Baroque –Theatre as intellectual history, Spring 2009This course used the theatre and drama between 1500-1800 as a touchstone for the intellectual and scientific developments of the Enlightenment and Modernity.
Theorizing Hamlet/Bard-ering with theory, Fall 2008This seminar was an intensive study of 20th century theory in relationship to Hamlet, the play most often cited in contemporary theory.
Undergraduate courses:Theatre and Drama 462: Fall 2012 and Spring 2013. An Intensive Writing course on
emotions and empathy in the theatre.Theatre and Drama 370, Theatre History I: Fall 2008, Spring 2009, Fall 2009 Summer
2011, Fall 2011, Summer 2013.Theatre and Drama 371, Theatre History II: Spring 2010, Summer 2010, Fall 2010.
Instructor, Emory UniversityTheater 101: Summer 2008, Spring 2007 and Fall 2006
This required introductory course focused on all elements of theatrical experience. Course concluded with students presenting solo performance pieces to the department.
Theater 389/Linguistics 385: Language and Performance, Spring 2008I created this cross-listed seminar on metaphor and blending theories to examine how performance theory can engage and interact with cognitive linguistics. As part of this course I invited and hosted both Eve Sweetser and Phil Auslander to the Emory campus.
Theater 316S/Eng 389: Theater and Science, Fall 2007I created this seminar on the relationship between plays and the scientific epistemology of the period.
Instructor, University of California, San Diego:Theatre and Dance 120: Early Modern History & Culture: Ensemble, Winter 2006
I designed and taught this course to work with the cast of The Beard of Avon to explore production dramaturgy, selected English literature from the early modern period, directing theories, verse work, and current theoretical approaches to Shakespeare’s work.
Theatre History and Theory 11: Classics -- Renaissance, Summer 2005Topics in Drama and Literature 101: Theory and practice/theatre and science, Winter 2005
I designed and taught this upper level seminar to examine the interaction between theories of theatre/acting and science of the last hundred years.
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Cook, curriculum vita
Theatre History and Theory 10: Play Analysis, 2004Page To Stage 108, 2003
I designed syllabus, lectured, led discussion, and directed final performance.
Teaching Assistant, University of California, San Diego:Solo Performance, Spring 2005Theatre History and Theory 11, 12, and 13, 2001-2003
Service Selected to represent Stony Brook University as an Applied Learning Expert for the
Corps of SUNY Applied Learning Experts (Fall 2016). Co-organizer of the 5th Annual Cognitive Futures in the Arts and Humanities
Conference to be held at Stony Brook in June, 2017. Member of the English Department’s Undergraduate Program Committee (2016). Member of Stony Brook University’s Promotion and Tenure Committee (2016-2017). Elected Secretary of American Society of Theatre Research (ASTR) 2014-2017.
Member of the Departmental Excellence Committee, College of Arts and Sciences, Stony Brook University, 2014.
Member of the University-wide Strategic Planning Committee, serving on the Integrated Arts and Humanities subcommittee, Indiana University, 2013-2014.
Member of the College of Arts and Sciences’ Committee for Undergraduate Education and member of the sub-committee to rethink the Intensive Writing requirement at IU.
Co-chair/convener of the Cognitive Science and Theatre and Performance Working Group for ASTR, 2010, 2011, 2012, 2013, 2014.
Editorial board member, English Text Construction, Belgium.
Referee for submissions to PMLA, Theatre Survey, Renaissance Drama, Journal of Dramatic Theory, Modern Drama, Theatre Journal, Theatre Topics, English Text Construction, and Polish Theatre Perspectives.
Reviewer for Oxford Press, Cambridge Press, Palgrave Macmillan, Yale University Press, Methuen, and Routledge.
Nominating committee ASTR (2009/2010), Finance Committee (2011/2012), and co-chair of the New Paradigms in Graduate Education committee (2013-2014).
FAME, Faculty advisor for incoming freshman at Emory University, Fall 2007.
Selected Directing Experience “Play Here, Please” and “First Family” from 365 Days/ 365 Plays by Suzan-Lori
Parks; Emory University, October 2007.
Into the Water by Karla Jennings, July 2007. Directed the workshop reading for Alliance Theatre, Atlanta.
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Cook, curriculum vita
The Beard of Avon by Amy Freed, May 2006. Directed the large UCSD undergraduate show in La Jolla Playhouse’s new theatre.
The As-If Body Loop by Ken Weitzman, April 2005; Richard Aiken by Ken Weitzman, April 2004; Seascapes by Andrea Stolowitz, April 2003; and Knowing Cairo by Andrea Stolowitz, April 2002. Staged readings for the Baldwin New Play Festival.
The Dumb Waiter by Harold Pinter, May 2002. Directed for UCSD Graduate Cabaret.
Lighted Fools, a rendering of Shakespeare’s Macbeth, August 1997. Adapted and directed this production for NY Fringe Festival, New York, NY.
Assisted directors Lisa Peterson, Richard Nelson, Rob Bundy, Howard Shalwitz, and Lou Jacob at theatres such as Playwrights Horizons, New York Theatre Workshop, Mark Taper Forum, Blue Light, and San Diego Repertory, 1993-2001.
Professional Associations American Society of Theatre Research (ASTR) Association for Theatre in Higher Education (ATHE) Shakespeare Association of America (SAA)
References
Bryan Reynolds Mark [email protected] [email protected]
Linda Charnes Celia [email protected] [email protected]
Nicola Shaughnessy Rhonda [email protected] [email protected]
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