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Unconscious communication: The kines...

Cherry, Adrianne.

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Unconscious communication: The kinesthetic connection between mover and viewer in dance performance.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Unconscious communication: The kinesthetic connection between mover and viewer in dance performance./
Author:	Cherry, Adrianne.
Description:	34 p.
Notes:	Source: Masters Abstracts International, Volume: 51-06.
Contained By:	Masters Abstracts International51-06(E).
Subject:	Dance. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=1537704
ISBN:	9781303093012

Unconscious communication: The kinesthetic connection between mover and viewer in dance performance.
Cherry, Adrianne.

Unconscious communication: The kinesthetic connection between mover and viewer in dance performance. - 34 p.

Source: Masters Abstracts International, Volume: 51-06.

Thesis (M.F.A.)--Mills College, 2013.

Bodily communication begins in infancy with imitation and expands to become a subconscious element of all human interaction. It precedes any verbal language and remains a vital element accompanying all human relation. In other words, beneath all verbal communication there is an underlying conversation being expressed by our bodies, which communicates emotion and thought. This creates a continuous interaction between doer and witness and provides the material for both choreography and audience comprehension of dance in performance. By examining the layered physicalization of thought and feeling through bodily expression we can gain a better understanding of how dance communicates through the language of the body. The posture and gesture of another body through space and time is transmitted through our sensorimotor system via motor resonance and interpreted unconsciously on the basis of our personal motor repertoire. This interaction translates the movement into thought and emotion, allowing for an empathetic response. What does this mean for dancers? For theatrical or conceptual work, the message of the piece is revealed within the movement of the dancers, and their orientation in space. A dancer's impetus for movement is often a simulation of emotion through imagery, or imagined emotional state, allowing the unconscious mind to articulate the choreographic concept. The emotional association through the body of the dancer and motor resonance of the viewer creates a pathway of communication linking mover and viewer through shared resonance. This kinesthetic relationship between mover and viewer allows dance to make posture and gesture in space and time fundamental tools for evoking an empathetic response.

ISBN: 9781303093012Subjects--Topical Terms:

610547
Dance.

Unconscious communication: The kinesthetic connection between mover and viewer in dance performance.
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100 1 $a Cherry, Adrianne. $3 2100358
245 1 0 $a Unconscious communication: The kinesthetic connection between mover and viewer in dance performance.
300 $a 34 p.
500 $a Source: Masters Abstracts International, Volume: 51-06.
500 $a Advisers: Ann Murphy; Sheldon Smith.
502 $a Thesis (M.F.A.)--Mills College, 2013.
520 $a Bodily communication begins in infancy with imitation and expands to become a subconscious element of all human interaction. It precedes any verbal language and remains a vital element accompanying all human relation. In other words, beneath all verbal communication there is an underlying conversation being expressed by our bodies, which communicates emotion and thought. This creates a continuous interaction between doer and witness and provides the material for both choreography and audience comprehension of dance in performance. By examining the layered physicalization of thought and feeling through bodily expression we can gain a better understanding of how dance communicates through the language of the body. The posture and gesture of another body through space and time is transmitted through our sensorimotor system via motor resonance and interpreted unconsciously on the basis of our personal motor repertoire. This interaction translates the movement into thought and emotion, allowing for an empathetic response. What does this mean for dancers? For theatrical or conceptual work, the message of the piece is revealed within the movement of the dancers, and their orientation in space. A dancer's impetus for movement is often a simulation of emotion through imagery, or imagined emotional state, allowing the unconscious mind to articulate the choreographic concept. The emotional association through the body of the dancer and motor resonance of the viewer creates a pathway of communication linking mover and viewer through shared resonance. This kinesthetic relationship between mover and viewer allows dance to make posture and gesture in space and time fundamental tools for evoking an empathetic response.
590 $a School code: 1069.
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710 2 $a Mills College. $b Dance. $3 1674617
773 0 $t Masters Abstracts International $g 51-06(E).
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792 $a 2013
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=1537704