By Susan Leigh Foster
"This is an urgently wanted publication – because the query of choreographing habit enters into geographical regions outdoors of the classy domain names of theatrical dance, Susan Foster writes a completely compelling argument." – André Lepecki, manhattan University
"May good end up to be one among Susan Foster’s most vital works." – Ramsay Burt, De Montford college, UK
What will we believe after we watch dancing? will we "dance alongside" inwardly? can we feel what the dancer’s physique is feeling? will we think what it might probably suppose prefer to practice those self same strikes? If we do, how do those responses impact how we adventure dancing and the way we derive value from it?
Choreographing Empathy demanding situations the assumption of an instantaneous psychophysical connection among the physique of a dancer and that in their observer. during this groundbreaking research, Susan Foster argues that the relationship is in reality hugely mediated and motivated by means of ever-changing sociocultural mores.
Foster examines the relationships between 3 valuable elements within the event of observing a dance – the choreography, the kinesthetic sensations it places ahead, and the empathetic connection that it proposes to audience. Tracing the altering definitions of choreography, kinesthesia, and empathy from the 1700s to the current day, she indicates how the remark, learn, and dialogue of dance have replaced through the years. figuring out this improvement is vital to knowing corporeality and its involvement within the physique politic.
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Extra info for Choreographing Empathy: Kinesthesia in Performance
Example text
George Haggerty, Sharon Salinger, and Carroll Smith-Rosenberg all fortified my knowledge of eighteenth century history in crucial ways, and I thank them for their generous assistance. Kenneth Olwig graciously entered into a lengthy email correspondence with me, a complete stranger, and provided helpful comments and suggestions. Donald Moyer’s understanding of yoga has given me much greater insight into the protean nature of physicality and its relationship to language, and his teaching is a constant inspiration.
Buildings choreograph space and people’s movement through them; cameras choreograph cinematic action; birds perform intricate choreographies; and combat is choreographed. 1 Dances also evince or articulate a choreography, and some artists who make dances call themselves choreographers. Dance scholars have also implemented the term in a range of debates concerning dance’s meaning in relation to society and politics. They have theorized the ephemerality of performance in relation to the documentation and analysis of it, and they have examined how choreography operates in relation to the construction of agency.
When empathy was neologized in the 1880s, it functioned quite differently, as a process in which one’s entire physicality comes to inhabit the other. Early twentieth century theories, such as those of Vernon Lee and John Martin, included a strong kinesthetic component in which the observer’s sense of their own physicality plays a central role. Seen from this perspective, the term “empathy” was invented not to express a new capacity for fellow-feeling, but to register a changing sense of physicality that, in turn, influenced how one felt another’s feelings.