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| 001 | 978-3-031-44962-8 | ||
| 003 | DE-He213 | ||
| 005 | 20251030110847.0 | ||
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| 008 | 231202s2024 sz | s |||| 0|eng d | ||
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_a9783031449628 _9978-3-031-44962-8 |
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_a10.1007/978-3-031-44962-8 _2doi |
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| 050 | 4 | _aGV1580-1799.4 | |
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_aASD _2bicssc |
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_aPER003000 _2bisacsh |
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_aATQ _2thema |
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| 100 | 1 |
_aPiquero Álvarez, Lucía. _eauthor. _4aut _4http://id.loc.gov/vocabulary/relators/aut _967902 |
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| 245 | 1 | 0 |
_aContemporary Dance Choreography and Spectatorship _h[electronic resource] : _bEmbodied Emotion / _cby Lucía Piquero Álvarez. |
| 250 | _a1st ed. 2024. | ||
| 264 | 1 |
_aCham : _bSpringer International Publishing : _bImprint: Palgrave Macmillan, _c2024. |
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| 300 |
_aXVII, 240 p. 29 illus., 28 illus. in color. _bonline resource. |
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| 336 |
_atext _btxt _2rdacontent |
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| 337 |
_acomputer _bc _2rdamedia |
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| 338 |
_aonline resource _bcr _2rdacarrier |
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| 347 |
_atext file _bPDF _2rda |
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| 505 | 0 | _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. | |
| 520 | _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. | ||
| 650 | 0 |
_aDance. _967903 |
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| 650 | 0 |
_aPerforming arts. _967607 |
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_aTheater. _966691 |
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_aTheater _xHistory. _966689 |
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_aActors. _967645 |
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| 650 | 1 | 4 |
_aDance. _967903 |
| 650 | 2 | 4 |
_aTheatre and Performance Arts. _967611 |
| 650 | 2 | 4 | _aContemporary Theatre and Performance. |
| 650 | 2 | 4 |
_aPerformers and Practitioners. _967650 |
| 710 | 2 | _aSpringerLink (Online service) | |
| 773 | 0 | _tSpringer Nature eBook | |
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_iPrinted edition: _z9783031449611 |
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_iPrinted edition: _z9783031449635 |
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_iPrinted edition: _z9783031449642 |
| 856 | 4 | 0 | _uhttps://doi.org/10.1007/978-3-031-44962-8 |
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