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Kinesthetic Spectatorship in the TheatreMovement, Difference, and Ability

Kinesthetic Spectatorship in the Theatre: Movement, Difference, and Ability [This chapter (“Movement, Difference, Ability”) considers the issue of corporeal difference in phenomenological and cognitive accounts of movement and movement perception. Whose experience do we describe when we make generalizations about these phenomena, and what bodies authorize these accounts? Advocating a methodological practice that embraces divergence and a strategic use of experiential norms, it offers a phenomenological foundation for engaging what we know and fall short of knowing in the kinesthetic experiences of others. Central to this foundation is the dialectic relationships between Edmund Husserl’s concepts of I can and I cannot, which allows us to navigate the experiential terrains of ability and disability. The chapter concludes with an account of watching two integrated dance performances by Oakland’s AXIS Dance Company.] http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png

Kinesthetic Spectatorship in the TheatreMovement, Difference, and Ability

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References (27)

Publisher
Springer International Publishing
Copyright
© The Editor(s) (if applicable) and The Author(s) 2018
ISBN
978-3-319-91793-1
Pages
75 –108
DOI
10.1007/978-3-319-91794-8_3
Publisher site
See Chapter on Publisher Site

Abstract

[This chapter (“Movement, Difference, Ability”) considers the issue of corporeal difference in phenomenological and cognitive accounts of movement and movement perception. Whose experience do we describe when we make generalizations about these phenomena, and what bodies authorize these accounts? Advocating a methodological practice that embraces divergence and a strategic use of experiential norms, it offers a phenomenological foundation for engaging what we know and fall short of knowing in the kinesthetic experiences of others. Central to this foundation is the dialectic relationships between Edmund Husserl’s concepts of I can and I cannot, which allows us to navigate the experiential terrains of ability and disability. The chapter concludes with an account of watching two integrated dance performances by Oakland’s AXIS Dance Company.]

Published: Sep 22, 2018

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