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

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Introduction,ork for the project. Understandings of emotion and dance in common discourse within dance practice are discussed, together with terms such as emotion and mood. All these are found to be inadequate to describe the experiences of emotion in contemporary theatre dance. The chapter further discusses the

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,Case Study 1: Melancholy Spirals in Russell Maliphant’s , (2009): Emergence, Expressiveness, and Empect of a work of dance, and how there is no need to access narrative in full in order to perceive a sense of emotion. This work is characterised as melancholy, poignant, and offering up examples of sadness and vulnerability, emotional import which is correlated to the perceptual properties of the w

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,Case Study 2: The Poignant Tensions of Crystal Pite’s , (2009): Embodiment, Enaction, and Emotion, import can still be correlated with the perceptual properties of the work. A link is proposed between the idea of tension, the physical sense of tension, the shared rhythm of all the perceptual properties analysed, and the powerful poignancy that emerges through the work. The chapter discusses noti