Get 20M+ Full-Text Papers For Less Than $1.50/day. Start a 14-Day Trial for You or Your Team.

Learn More →

Kinesthetic Spectatorship in the TheatreKinesthetic Resonance

Kinesthetic Spectatorship in the Theatre: Kinesthetic Resonance [This chapter (“Kinesthetic Resonance”) focuses on the perceiving subject’s vicarious engagement (or resonance) with the movements of others. It traces the concept of kinesthetic sympathy in dance theory and the parallel work on human mirroring in neuroscience and suggests how these parallel explorations can be understood in relation to each other. Adapting these general phenomenological and cognitive models to the experiential field of actual performance, and building on its accounts of specific encounters inside and outside the theatre, it argues that resonance responses in the theatre are situational, multi-directional, and variable. Performances analyzed in this chapter includes Peter Hall’s film adaptation of Harold Pinter’s The Homecoming and Deaf West’s revival of the musical Spring Awakening, which included deaf, hearing, and hard-of-hearing performers.] http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png

Kinesthetic Spectatorship in the TheatreKinesthetic Resonance

Download PDF
38 pages

Loading next page...
 
/lp/springer-journals/kinesthetic-spectatorship-in-the-theatre-kinesthetic-resonance-dtPjny1Ogw

References (0)

References for this paper are not available at this time. We will be adding them shortly, thank you for your patience.

Publisher
Springer International Publishing
Copyright
© The Editor(s) (if applicable) and The Author(s) 2018
ISBN
978-3-319-91793-1
Pages
145 –183
DOI
10.1007/978-3-319-91794-8_5
Publisher site
See Chapter on Publisher Site

Abstract

[This chapter (“Kinesthetic Resonance”) focuses on the perceiving subject’s vicarious engagement (or resonance) with the movements of others. It traces the concept of kinesthetic sympathy in dance theory and the parallel work on human mirroring in neuroscience and suggests how these parallel explorations can be understood in relation to each other. Adapting these general phenomenological and cognitive models to the experiential field of actual performance, and building on its accounts of specific encounters inside and outside the theatre, it argues that resonance responses in the theatre are situational, multi-directional, and variable. Performances analyzed in this chapter includes Peter Hall’s film adaptation of Harold Pinter’s The Homecoming and Deaf West’s revival of the musical Spring Awakening, which included deaf, hearing, and hard-of-hearing performers.]

Published: Sep 22, 2018

There are no references for this article.