Solace
发表于 2025-3-23 11:38:51
,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
发表于 2025-3-23 16:53:04
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
发表于 2025-3-23 19:28:00
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goodwill
发表于 2025-3-24 01:57:25
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共同给与
发表于 2025-3-24 05:41:09
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
发表于 2025-3-24 07:04:53
,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
发表于 2025-3-24 10:47:47
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
发表于 2025-3-24 18:48:27
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Ophthalmologist
发表于 2025-3-24 19:57:20
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inventory
发表于 2025-3-25 02:48:04
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