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Kinesthetic Spectatorship in the TheatreMovement, Attention, and Intentionality

Kinesthetic Spectatorship in the Theatre: Movement, Attention, and Intentionality [This chapter (“Movement, Attention, and Intentionality”) explores two important elements of kinesthetic spectatorship: attention and intentionality. Looking at key ways in which theatre engages movement differently than it is engaged in non-performance situations, it considers the interaction of focal and marginal attention, the centrality of intentionality to action recognition, and the role of affect in the execution and perception of movement. After expanding the intentional model to include micro-intentions and what developmental psychologist Daniel Stern calls “interintentionality,” the chapter concludes with a discussion of contemporary performance attempts to establish a “post-intentional” theatre. Performances analyzed in this chapter include director Ivo van Hove’s production of A View from the Bridge, Robert Wilson’s Einstein on the Beach, and the performative experiments of Stelarc and Cathy Weis.] http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png

Kinesthetic Spectatorship in the TheatreMovement, Attention, and Intentionality

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References (25)

Publisher
Springer International Publishing
Copyright
© The Editor(s) (if applicable) and The Author(s) 2018
ISBN
978-3-319-91793-1
Pages
109 –144
DOI
10.1007/978-3-319-91794-8_4
Publisher site
See Chapter on Publisher Site

Abstract

[This chapter (“Movement, Attention, and Intentionality”) explores two important elements of kinesthetic spectatorship: attention and intentionality. Looking at key ways in which theatre engages movement differently than it is engaged in non-performance situations, it considers the interaction of focal and marginal attention, the centrality of intentionality to action recognition, and the role of affect in the execution and perception of movement. After expanding the intentional model to include micro-intentions and what developmental psychologist Daniel Stern calls “interintentionality,” the chapter concludes with a discussion of contemporary performance attempts to establish a “post-intentional” theatre. Performances analyzed in this chapter include director Ivo van Hove’s production of A View from the Bridge, Robert Wilson’s Einstein on the Beach, and the performative experiments of Stelarc and Cathy Weis.]

Published: Sep 22, 2018

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