Dépouillement:
Introduction. Touching and being touched. Motion, emotion and modesof contact.
1. Touch. Rühren, berühren, aufruhr: stirring, stirring up, uprising / Jean-Luc Nancy. -- Figure, plasticity, affect / Niklaus Largier. -- Just like that: William Forsythe, between movement and langage / Erin Manning and Brian Massumi. -- Movements of touch in "Maybe forever"/ Gerko Egert. -- Cold burn (Teion Yakedo): on touch in contemporary japanese performance / Katherine Mezur. -- "The fault line" of touching / Krassimira Kruschkova.
2. Kinesthesia. On "inner touch"and the moving body: aistësis, kinaesthesis, and aesthetics / Mark Paterson. -- Choreographies with and without a choreographer: intuitive and intentional corporeal interactions / Hilge Landweer. -- "Listening": kinesthetic awareness in contemporary dance / Gabriele Brandstetter. -- Do you feel the same way too? / Corinne Jola. -- Empathy, contagion and affect: the role of kinesthesia in watching dance / Dee Reynolds.
3, Empathy. Affective modulation in politics, theory and art / Marie-Luise Angerer. -- Is the movement of the filmic image a sign of vitality? / Robin Curtis.-- Feeling in and out: contact improvisation and the politics of empathy / Ann Cooper Albright. -- "Touch me if you can": the practice of close emprace as a facilitator of kinesthetic empathy in argentine tango / Sabine Zubarik. -- Lost and found in interpretation: senses and emotions in contexts of argentine tango / Kornilia Chatzimasoura. -- Dancing tango: the weave of an emotional, corporal and social network / Sonia Abadi. -- Notes on contributors.

Comprend des références bibliographiques.[-]

"What do we feel when we watch dancing? Do we "dance along" inwardly? Do we sense what the dancer's body is feeling? Do we imagine what it might feel like to perform those same moves? If we do, how do these responses influence how we experience dancing and how we derive significance from it?

Choreographing Empathy challenges the idea of a direct psychophysical connection between the body of a dancer and that of their observer. In this groundbreaking investigation, Susan Foster argues that the connection is in fact highly mediated and influenced by ever-changing sociocultural mores.

Foster examines the relationships between three central components in the experience of watching a dance – the choreography, the kinesthetic sensations it puts forward, and the empathetic connection that it proposes to viewers. Tracing the changing definitions of choreography, kinesthesia, and empathy from the 1700s to the present day, she shows how the observation, study, and discussion of dance have changed over time. Understanding this development is key to understanding corporeality and its involvement in the body politic."--P.[4] de la couv.[-]