{"product_id":"contemporary-dance-choreography-and-spectatorship-embodied-emotion-9783031449611","title":"Contemporary Dance Choreography and Spectatorship: Embodied Emotion","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eThis book offers an approach which unites choreographic and spectatorial perspectives, and argues for dance itself—its materials, its structures—as a medium of emotional communication. Contemporary dance often seems to contend with issues of understanding, regularly being “read” in “languages” which alienate it. Even if emotion seems a significant part of people’s engagement with dance, its workings are often surrounded by an air of mysticism. Engaging with these issues, this study investigates the experience of emotion in Euro-American contemporary dance theatre. It questions its dependence on the artist’s personal emotions, and the assumption that it is mediated by representational meaning. Instead, this book proposes that the emotional import of dance emerges from an interplay between perceptual properties and symbolic elements in an embodied affective cognitive experience. This experience includes the background of the spectator as well as the context of work, choreographer, performer(s) and other creative agents.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eChapter 1: Introduction. 4\u003c\/p\u003eThe experience of emotional import as complex, bodily and thoughtful 5\u003cp\u003e\u003c\/p\u003eUnderstanding emotion. 6\u003cp\u003e\u003c\/p\u003e\u003cp\u003eThe affective realm and spectatorship. 9\u003c\/p\u003e\u003cp\u003eUnderstandings of emotion in dance. 15\u003c\/p\u003e\u003cp\u003eThe ‘widely popular doctrine’ 16\u003c\/p\u003e\u003cp\u003eRaw emotion and ineffability. 21\u003c\/p\u003e\u003cp\u003eEmotion in Euro-American contemporary theatre dance. 23\u003c\/p\u003e\u003cp\u003e4E cognition. 25\u003c\/p\u003e\u003cp\u003eExperience of dance. 28\u003c\/p\u003e\u003cp\u003eSpectator’s experience of Art 29\u003c\/p\u003e\u003cp\u003eAesthetic experience and disinterest 29\u003c\/p\u003e\u003cp\u003eKinesthetic empathy. 30\u003c\/p\u003e\u003cp\u003eEstablishing the research process. 33\u003c\/p\u003e\u003cp\u003eCase studies. 38\u003c\/p\u003e\u003cp\u003eContent organisation. 41\u003c\/p\u003e\u003cp\u003eHow to use the book and web resource. 42\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003eChapter 2 The analysis model 44\u003cp\u003e\u003c\/p\u003eThe method of analysis. 45\u003cp\u003e\u003c\/p\u003eMovement Qualities. 46\u003cp\u003e\u003c\/p\u003e\u003cp\u003eFactors for analysis. 50\u003c\/p\u003e\u003cp\u003e·      Weight or Force\/Muscular energy. 51\u003c\/p\u003e\u003cp\u003e·      Time\/bodily rhythm.. 51\u003c\/p\u003e·      Kinespheric Space. 52\u003cp\u003e\u003c\/p\u003e\u003cp\u003e·      Flow.. 52\u003c\/p\u003e\u003cp\u003eObserving movement qualities\/efforts in the case studies. 53\u003c\/p\u003e\u003cp\u003eSpatial-rhythm.. 57\u003c\/p\u003eSpatial forms in the analysis of choreography. 59\u003cp\u003e\u003c\/p\u003eVirtuality, emergence, and perceptual properties. 60\u003cp\u003e\u003c\/p\u003eThe focal point 66\u003cp\u003e\u003c\/p\u003e\u003cp\u003eAnalysis of video based on spatial-rhythm method. 67\u003c\/p\u003e\u003cp\u003eSound-movement relationships. 69\u003c\/p\u003e\u003cp\u003eStructural relationships between sound and movement 70\u003c\/p\u003e\u003cp\u003eForms of analysis. 74\u003c\/p\u003e\u003cp\u003eReviews and my experience. 76\u003c\/p\u003e\u003cp\u003eVideo and still frame analysis. 78\u003c\/p\u003e\u003cp\u003eInformation from the creative processes. 81\u003c\/p\u003e\u003cp\u003eSelection of examples for discussion. 82\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003eChapter 3. Case Study 1: Melancholy Spirals in Russell Maliphant’s \u003ci\u003eAfterlight (Part One)\u003c\/i\u003e (2009): Emergence, Expressiveness, and Emotional Import 84\u003cp\u003e\u003c\/p\u003eIntroduction to \u003ci\u003eAfterlight (Part One)\u003c\/i\u003e 85\u003cp\u003e\u003c\/p\u003eInformed audience perspective. 89\u003cp\u003e\u003c\/p\u003ePerceptual properties. 90\u003cp\u003e\u003c\/p\u003eRemarkable features: Light 92\u003cp\u003e\u003c\/p\u003eNotes on the choreographic process. 93\u003cp\u003e\u003c\/p\u003eAnalysis of properties and interactions. 94\u003cp\u003e\u003c\/p\u003eScene 1 | 02.10 | A sense of melancholy. 95\u003cp\u003e\u003c\/p\u003eScene 2 | Beginning of section 2 | A gasp. 101\u003cp\u003e\u003c\/p\u003eScene 3 | 07:56 to 07:58 | A silent cry of surrender 102\u003cp\u003e\u003c\/p\u003eScene 4 | 08:50 | A look of longing. 106\u003cp\u003e\u003c\/p\u003eScene 5 | 10:00 | A feeling of lightness. 108\u003cp\u003e\u003c\/p\u003eScene 6 | Final Scene | An impending loss. 110\u003cp\u003e\u003c\/p\u003eChapter Insights. 112\u003cp\u003e\u003c\/p\u003e\u003cp\u003eEmergence. 112\u003c\/p\u003e\u003cp\u003eExpressiveness. 114\u003c\/p\u003e\u003cp\u003eEmotional import 119\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003eChapter 4. Case Study 2: The poignant tensions of Crystal Pite’s\u003ci\u003e Dark Matters \u003c\/i\u003e(2009): Embodiment, Enaction and Emotion. 126\u003cp\u003e\u003c\/p\u003eIntroduction to the work. 127\u003cp\u003e\u003c\/p\u003eInformed Audience Perspective. 131\u003cp\u003e\u003c\/p\u003ePerceptual properties. 132\u003cp\u003e\u003c\/p\u003eSound\/text 133\u003cp\u003e\u003c\/p\u003e\u003cp\u003eLight 136\u003c\/p\u003e\u003cp\u003eNotes on the choreographic process. 137\u003c\/p\u003e\u003cp\u003eAnalysis of properties and interactions. 138\u003c\/p\u003e\u003cp\u003eScene 1 | 00:01 | The solo’s opening scene. 138\u003c\/p\u003e\u003cp\u003eScene 2 | 01:07 | Power 139\u003c\/p\u003e\u003cp\u003eScene 3 | 01:33 | Reaching to infinity. 142\u003c\/p\u003e\u003cp\u003eScene 4 | 01:41-01:54 | Control and vulnerability. 144\u003c\/p\u003e\u003cp\u003eScene 5 | 02:01- 02:14 | Ripple through the body. 148\u003c\/p\u003e\u003cp\u003e6 | Words and meaning. 150\u003c\/p\u003e\u003cp\u003eScene 7 | Final moments. 156\u003c\/p\u003e\u003cp\u003eChapter insights. 157\u003c\/p\u003e\u003cp\u003eEmbodied cognition. 161\u003c\/p\u003e\u003cp\u003eEnactive perception. 164\u003c\/p\u003e\u003cp\u003eSocial construction of perception; theatre and visuality. 167\u003c\/p\u003e\u003cp\u003eEmbodied Concepts. 169\u003c\/p\u003e\u003cp\u003eEmbodiment, enaction and emotion: a summary. 172\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003eChapter 5. Case Study 3: the despair of \u003ci\u003ePetrichor\u003c\/i\u003e (2016): Choreographer, analyst, audience, dancer 174\u003cp\u003e\u003c\/p\u003eIntroduction to \u003ci\u003ePetrichor\u003c\/i\u003e. 176\u003cp\u003e\u003c\/p\u003eInformed audience perspective. 180\u003cp\u003e\u003c\/p\u003ePerceptual Properties. 181\u003cp\u003e\u003c\/p\u003eRemarkable features: Music. 181\u003cp\u003e\u003c\/p\u003eAnalysis of properties and interactions. 183\u003cp\u003e\u003c\/p\u003eScene 1 | 00:24 - 00:44 Struggle and melancholy. 184\u003cp\u003e\u003c\/p\u003eScene 2 | 00:44 – 0:55 | Floating, voice, and poignancy. 188\u003cp\u003e\u003c\/p\u003eScene 3 | 01:04-01:10 | Reaching towards the light | Actively taken by energy. 191\u003cp\u003e\u003c\/p\u003eScene 4 | 01:13 – 01:22 | Delicacy and surrender, ephemerality and power 193\u003cp\u003e\u003c\/p\u003eScene 5 | 01:53 | Second solo repetition - Breaking free. 196\u003cp\u003e\u003c\/p\u003eScene 6 | 01:57 and 02:14 A brief elevation | Big arch of the back. 196\u003cp\u003e\u003c\/p\u003eScene 7 | Final moment 200\u003cp\u003e\u003c\/p\u003eChapter insights. 202\u003cp\u003e\u003c\/p\u003e\u003cp\u003eThe choreographer’s experience. 209\u003c\/p\u003e\u003cp\u003eThe dancer’s role. 213\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eChapter 6. Conclusion. 217\u003c\/p\u003ePoignancy as a summarising example. 223\u003cp\u003e\u003c\/p\u003eMain points for future research. 225\u003cp\u003e\u003c\/p\u003eDance analysis. 225\u003cp\u003e\u003c\/p\u003e\u003cp\u003eOther directions of research. 229\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eFinal thoughts. 232\u003c\/p\u003e","brand":"Springer International Publishing AG","offers":[{"title":"Default Title","offer_id":53516343574871,"sku":"9783031449611","price":94.99,"currency_code":"GBP","in_stock":true}],"url":"https:\/\/bookcurl.com\/products\/contemporary-dance-choreography-and-spectatorship-embodied-emotion-9783031449611","provider":"Book Curl","version":"1.0","type":"link"}