03553nam a22004695i 4500001001800000003000900018005001700027007001500044008004100059020001800100024003500118050001800153072001600171072002300187072001500210100008900225245013000314250001800444264008500462300006600547336002600613337002600639338003600665347002400701505041300725520153101138650001102669650002102680650001302701650002202714650001202736650001102748650003402759650004202793650003402835710003402869773002602903776003602929776003602965776003603001856004603037978-3-031-44962-8DE-He21320251030110847.0cr nn 008mamaa231202s2024    sz |    s    |||| 0|eng d  a97830314496287 a10.1007/978-3-031-44962-82doi 4aGV1580-1799.4 7aASD2bicssc 7aPER0030002bisacsh 7aATQ2thema1 aPiquero Álvarez, Lucía.eauthor.4aut4http://id.loc.gov/vocabulary/relators/aut10aContemporary Dance Choreography and Spectatorshiph[electronic resource] :bEmbodied Emotion /cby Lucía Piquero Álvarez.  a1st ed. 2024. 1aCham :bSpringer International Publishing :bImprint: Palgrave Macmillan,c2024.  aXVII, 240 p. 29 illus., 28 illus. in color.bonline resource.  atextbtxt2rdacontent  acomputerbc2rdamedia  aonline resourcebcr2rdacarrier  atext filebPDF2rda0 a1.Introduction -- 2 The analysis model -- 3. Case Study 1: Melancholy Spirals in Russell Maliphant’s Afterlight (Part One) (2009): Emergence, Expressiveness, and Emotional Import -- 4. Case Study 2: The poignant tensions of Crystal Pite’s Dark Matters (2009): Embodiment, Enaction and Emotion -- 5. Case Study 3: the despair of Petrichor (2016): Choreographer, analyst, audience, dancer -- 6. Conclusion.  aThis book offers an approach which unites choreographic and spectatorial perspectives, and argues for dance itself—its materials, its structures—as a medium of emotional communication. Contemporary dance often seems to contend with issues of understanding, regularly being “read” in “languages” which alienate it. Even if emotion seems a significant part of people’s engagement with dance, its workings are often surrounded by an air of mysticism. Engaging with these issues, this study investigates the experience of emotion in Euro-American contemporary dance theatre. It questions its dependence on the artist’s personal emotions, and the assumption that it is mediated by representational meaning. Instead, this book proposes that the emotional import of dance emerges from an interplay between perceptual properties and symbolic elements in an embodied affective cognitive experience. This experience includes the background of the spectator as well as the context of work, choreographer, performer(s) and other creative agents. Lucía Piquero Álvarez is a researcher and choreographer - she has produced and been commissioned to create choreographic work internationally. Lucía completed her PhD at the University of Roehampton, UK, in 2019, and was a lecturer in dance at the University of Malta between 2012–2022 and head of the dance department between 2019–2022. Lucía is currently a lecturer in performance psychology at Trinity Laban, UK, and senior lecturer at Dance City Newcastle, UK. 0aDance. 0aPerforming arts. 0aTheater. 0aTheaterxHistory. 0aActors.14aDance.24aTheatre and Performance Arts.24aContemporary Theatre and Performance.24aPerformers and Practitioners.2 aSpringerLink (Online service)0 tSpringer Nature eBook08iPrinted edition:z978303144961108iPrinted edition:z978303144963508iPrinted edition:z978303144964240uhttps://doi.org/10.1007/978-3-031-44962-8