This chapter (“Kinesthetic Resonance”) focuses on the perceiving subject’s vicarious engagement (or resonance) with the movements of others. It traces the concept of kinesthetic sympathy in dance theory and the parallel work on human mirroring in neuroscience and suggests how these parallel explorations can be understood in relation to each other. Adapting these general phenomenological and cognitive models to the experiential field of actual performance, and building on its accounts of specific encounters inside and outside the theatre, it argues that resonance responses in the theatre are situational, multi-directional, and variable. Performances analyzed in this chapter includes Peter Hall’s film adaptation of Harold Pinter’s The Homecoming and Deaf West’s revival of the musical Spring Awakening, which included deaf, hearing, and hard-of-hearing performers.
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