000			02126nam a22003014i 4500
001			991060408810306706
003			ES-BaIT
005			20220428104547.0
008			220331s2016 xxk 000 0 eng c
020			_a9781137593252
040			_aES-BaIT _bcat _erda _cES-BaIT
080			_a159.9:792
100	1		_aCummings, Lindsay B. _eautor _9158080
245	1	0	_aEmpathy as dialogue in theatre and performance / _cby Lindsay B. Cummings
264		1	_aLondon : _bPalgrave Macmillan, _c2016
300			_avii, 220 pàgines ; _c22 cm
336			_atext _btxt _2rdacontent
337			_asense mediació _bn _2rdamedia
338			_avolum _bnc _2rdacarrier
500			_aBibliografia. Índex
505	8		_aConté: Introduction -- Acknowledgements -- Chapter 1. Interruptions -- Chapter 2. Repetitions -- Chapter 3. Rehearsals -- Chapter 4. Empathic Economies -- Conclusion -- Bibliography
520			_a"Empathy has provoked equal measures of excitement and controversy in recent years. For some, empathy is crucial to understanding others, helping us bridge social and cultural differences. For others, empathy is nothing but a misguided assumption of access to the minds of others. In this book, Cummings argues that empathy comes in many forms, some helpful to understanding others and some detrimental. Tracing empathy’s genealogy through aesthetic theory, philosophy, psychology, and performance theory, Cummings illustrates how theatre artists and scholars have often overlooked the dynamic potential of empathy by focusing on its more “monologic” forms, in which spectators either project their point of view onto characters or passively identify with them. This book therefore explores how empathy is most effective when it functions as a dialogue, along with how theatre and performance can utilise the live, emergent exchange between bodies in space to encourage more dynamic, dialogic encounters between performers and audience. ." -- Contracoberta
650		0	_aTeatre _xAspectes psicològics _2lemac _968398
650		7	_aEmocions _2lemac _956770
908			_aCDMAE
940			_aCVA2
942			_2udc _c1
999			_c132528 _d132528