Titlebook: Contemporary Dance Choreography and Spectatorship; Embodied Emotion Lucía Piquero álvarez Book 2024 The Editor(s) (if applicable) and The A

Solace

,Case Study 2: The Poignant Tensions of Crystal Pite’s , (2009): Embodiment, Enaction, and Emotion,ion, the shared rhythm of all the perceptual properties analysed, and the powerful poignancy that emerges through the work. The chapter discusses notions of embodied cognition, enactive perception, the social construction of perception, and embodied concepts, and presents a summarised view of embodiment, enaction, and emotion.

Heretical

Case Study 3: The Despair of , (2016): Choreographer, Analyst, Audience, Dancer,ulness of my three-fold relationship with the work through examining instances in which I searched for an effect as a choreographer, which I only perceived as audience member—through trial and error, and which underlying structure I understood only as analyst.

高度表

goodwill

共同給與

The Analysis Model,alysed in depth. The particular properties, movement qualities, sound-movement relationships, and spatial-rhythm, are selected because they emerged as relevant in the analysis of the three case studies and in the reviews studied; however, the book does not defend them as the only possible properties relevant towards emotional import.

jarring

,Case Study 1: Melancholy Spirals in Russell Maliphant’s , (2009): Emergence, Expressiveness, and Emussed to be part of the perceptual properties of the work. The chapter discusses emergence and expressiveness and proposes the understanding of emotional import as the most adequate for discussion within the experience of emotion in dance.

capsaicin

Lucía Piquero álvarezEstablishes an interdisciplinary dialogue between dance analysis and philosophy.Offers a unique view which links the experiences of choreographers and audience members.Argues for dance itself being a

DEAF

Ophthalmologist

inventory