Contemporary Dance Choreography and Spectatorship: Embodied Emotion

Contents

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• Chapter 1: Introduction. 4
• The experience of emotional import as complex, bodily and thoughtful 5Understanding emotion. 6
• The affective realm and spectatorship. 9
• Understandings of emotion in dance. 15
• The ‘widely popular doctrine’ 16
• Raw emotion and ineffability. 21
• Emotion in Euro-American contemporary theatre dance. 23
• 4E cognition. 25
• Experience of dance. 28
• Spectator’s experience of Art 29
• Aesthetic experience and disinterest 29
• Kinesthetic empathy. 30
• Establishing the research process. 33
• Case studies. 38
• Content organisation. 41
• How to use the book and web resource. 42
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• Chapter 2 The analysis model 44The method of analysis. 45Movement Qualities. 46
• Factors for analysis. 50
• ·      Weight or Force/Muscular energy. 51
• ·      Time/bodily rhythm.. 51
• ·      Kinespheric Space. 52
• ·      Flow.. 52
• Observing movement qualities/efforts in the case studies. 53
• Spatial-rhythm.. 57
• Spatial forms in the analysis of choreography. 59Virtuality, emergence, and perceptual properties. 60The focal point 66
• Analysis of video based on spatial-rhythm method. 67
• Sound-movement relationships. 69
• Structural relationships between sound and movement 70
• Forms of analysis. 74
• Reviews and my experience. 76
• Video and still frame analysis. 78
• Information from the creative processes. 81
• Selection of examples for discussion. 82
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• Chapter 3. Case Study 1: Melancholy Spirals in Russell Maliphant’s Afterlight (Part One) (2009): Emergence, Expressiveness, and Emotional Import 84Introduction to Afterlight (Part One) 85Informed audience perspective. 89Perceptual properties. 90Remarkable
• Emergence. 112
• Expressiveness. 114
• Emotional import 119
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• Chapter 4. Case Study 2: The poignant tensions of Crystal Pite’s Dark Matters (2009): Embodiment, Enaction and Emotion. 126Introduction to the work. 127Informed Audience Perspective. 131Perceptual properties. 132Sound/text 133
• Light 136
• Notes on the choreographic process. 137
• Analysis of properties and interactions. 138
• Scene 1 | 00:01 | The solo’s opening scene. 138
• Scene 2 | 01:07 | Power 139
• Scene 3 | 01:33 | Reaching to infinity. 142
• Scene 4 | 01:41-01:54 | Control and vulnerability. 144
• Scene 5 | 02:01- 02:14 | Ripple through the body. 148
• 6 | Words and meaning. 150
• Scene 7 | Final moments. 156
• Chapter insights. 157
• Embodied cognition. 161
• Enactive perception. 164
• Social construction of perception; theatre and visuality. 167
• Embodied Concepts. 169
• Embodiment, enaction and emotion: a summary. 172
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• Chapter 5. Case Study 3: the despair of Petrichor (2016): Choreographer, analyst, audience, dancer 174Introduction to Petrichor. 176Informed audience perspective. 180Perceptual Properties. 181Remarkable features: Music. 181Analysis of properties and inter
• The choreographer’s experience. 209
• The dancer’s role. 213
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• Chapter 6. Conclusion. 217
• Poignancy as a summarising example. 223Main points for future research. 225Dance analysis. 225
• Other directions of research. 229
• Final thoughts. 232