In this paper, I report on the University of Huddersfield's Mindfulness and Performance Project (MAP) 2 , outlining the field of practice that the project was designed to profile, and exploring some of the implications of what we might call 'mindfulness-based performance'. Framing this work within the context of the growing literature on clinical and therapeutic 'mindfulness-based interventions' I explore definitions of mindfulness, and consider how contemplative science might influence and guide emergent work in the theatre. Noting the emergence of a new discipline of Contemplative Studies, I also suggest that mindfulnessbased performance has a significant role to play in current research and practice regarding mindfulness applications in the broader culture.
Mindfulness in PerformanceA number of related trajectories can be seen to have played out in Western cultures during recent decades: the development of Western Buddhism, the spread of postural yoga, the rise in interest in alternative and secular spiritualities and in practices related to holistic wellbeing. Woven through these sometimes very different cultural phenomena is a common thread of interest in meditation and mindfulness. That interest can be seen to be reflected in contemporary theatre and performance, with recent examples including Marina Abramovic's 512 Hours (2014); Bess Wohl's play, Small Mouth Sounds (2015), set in a meditation retreat; and Rolf Hind's 'mindfulness opera', Lost in Thought (2015).That theatre and performance practitioners would seek to embrace and explore meditation is not a new development. At least since Stanislavski, Buddhism, yoga, and other systems of spiritual development (such as that developed by Gurdjieff, for example) have provided theatre practitioners with approaches to the training of actors' minds and bodies and to alternative philosophies and systems of thought. These influences have not always been clearly identified or acknowledged, but recent scholarship has brought them into greater focus (see, for example, Maria Kapsali on Grotowski and yoga (2010), or Harrison's Blum's Dancing with Dharma (2016) on contemporary Western dance practice and Buddhism).The Mindfulness and Performance project (MAP) at the University of Huddersfield's Centre for Psychophysical Performance Research was initiated in order to explore and respond to a range of theatre and performance practices that draw on or make reference to this related body of interests: meditation, mindfulness, Buddhism, contemplative arts, Dharma Art. How to frame this body of work strikes me as one of the most interesting and fundamental questions arising from the potential field, so I want to pause for a moment on the choice of 'mindfulness' as our key term. Whilst Buddhism was an obvious and dominant source for much of the work the MAP team were interested in, it runs alongside other traditions in influencing theatre practice. As Franc Chamberlain points out, '[I]t is very difficult to separate out all of the forms of contemplative practice that w...