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Media type:
E-Book
Title:
Choreographing empathy
:
kinesthesia in performance
Contains:
Choreography. Inventories and taxonomies -- Traveling and disseminating -- Authorship, narrative, and technique -- Revealing and testifying -- Making and collaborating -- Kinesthesia. Chorographies and anatomies -- Trembling and orienting -- From hardening to picturing -- Encompassing and expressing -- Synthesizing and simulating -- Empathy. Taken unawares by surprising magnetisms -- Surveying the scene, nervously -- Alterity and domesticity -- Identifying and emoting -- Mirroring and resonating -- Choreographing empathy. Grounding and remembering -- Locating and surveilling -- Engendering and evaluating -- Downloading and accessorizing -- Choreographing empathy.
Footnote:
Formerly CIP Uk. - Includes bibliographical references and index. - Choreography. Inventories and taxonomies -- Traveling and disseminating -- Authorship, narrative, and technique -- Revealing and testifying -- Making and collaborating -- Kinesthesia. Chorographies and anatomies -- Trembling and orienting -- Hardening and picturing -- Encompassing and expressing -- Synthesizing and simulating -- Empathy. Taken unawares by surprising magnetisms -- Surveying the scene, nervously -- Domesticating and othering -- Identifying and emoting -- Resonating and predicting -- Choreographing empathy. Grounding and remembering -- -- Locating and surveilling -- Engendering and evaluating -- Downloading and accessorizing -- Choreographing empathy
Description:
What do we feel when we watch dancing? Do we "dance along" inwardly? Do we sense what the dancer's body is feeling? Do we imagine what it might feel like to perform those same moves? If we do, how do these responses influence how we experience dancing and how we derive significance from it? - - Choreographing Empathy challenges the idea of a direct psychophysical connection between the body of a dancer and that of their observer. In this groundbreaking investigation, Susan Foster argues that the connection is in fact highly mediated and influenced by ever-changing sociocultural mores. - - Foster examines the relationships between three central components in the experience of watching a dance - the choreography, the kinesthetic sensations it puts forward, and the empathetic connection that it proposes to viewers. Tracing the changing definitions of choreography, kinesthesia, and empathy from the 1700s to the present day, she shows how the observation, study, and discussion of dance have changed over time. Understanding this development is key to understanding corporeality and its involvement in the body politic.