The Performer-Audience Connection

The Performer-Audience Conncetion

Emotion to Metaphor in Dance and Society

Austin: University of Texas, 1983

“. . .thoroughly original, sound, and stimulating. Judith Lynne Hanna has successfully established the nexus between dancer, dance, and audience, and to my knowledge this is the first time that has been achieved. I think than anyone who has anything to do with dance would want to read this book…”  Ashley Montagu

“Well researched and meticulous in presentation…nothing less than an exercise in systematizing the elusive relationships between performer and audience…there is no doubt that this book contains much food for thought…”  Choice, July-August 1984, p. 1616

“One of the outstanding academic books of the year.”  Choice

“At last there is a sensitive, empirically based study that addresses the socioemotional realm, within which dance is a part. Hanna explores emotional nuance through the dance metaphor, with chapters on the meaning of Indian, Japanese, and American dance. The methodology is an analysis of audience response to live performance of dance through questionnaires and qualitative interview data. Performers and choreographers area also interviewed for their interpretations of dance works.  Questions are asked about body gesture, quality and expression in movement, and aspects of the decor such as costume, scenery, and music and/or words. The Performer-Audience Connection represents a complex move to integrate aspects of communications theory with anthropological and sociological methodologies. The attempt is ambitious and the outcome commendable.”  Jacqueline A. Gibbons, Contemporary Sociology, 15(3):394-395, 1986

“In order to understand what human beings are one needs to look not only at what they do but, more importantly, at what they feel about what they do because it is through feeling that one transforms acquired knowledge into understanding….Judith Lynne Hanna’s new book is the first systematic investigation into the communication of emotion through dance….The book is divided into three major sections, followed by a postscript and an appendix. Hanna first presents her theoretical framework and approach, always commenting with lucidity upon the problems and the drawbacks of her study….the book is pleasant reading, well constructed, clear and to the point….a pioneering study and there is no doubt that Hanna has laid solid foundations for further investigations.”  Andrée Grau, Man 20(2):378, 1985

“The strength of the book lies in her comments, discussion and conclusions, developed against the background of her anthropological and dance experience. The introductory chapter and historical survey of the topic provide an interesting and extremely informative background and theoretical base for the practical survey. The introduction, history and discussion of each form of dance, its performers and context is fascinating and informative, even apart from the survey dealing with the transmission of emotion. The summaries in each chapter and of the whole study add to the understanding of the cultural differences in human behaviour, psychological and functional as well as emotional.  The final summary … [presents] perceptions and realisations… rarely put into words or contemplated in any depth.  Some issues are clarified, while the theoretical analysis provides information and points for discussion in areas of study both inside and outside of dance….”  Sally Murphy, Journal of the Anthropological Society of Oxford, 17(2):163-165, 1986

“This is a provocative, challenging study of human communication between groups of dancers and their audiences…There are many incisively salient observations from both points of view….”  Come-All-Ye 7(3), 1986

“This book is stimulating and provocative. The questions it asks are profound and potentially of great interest to performers, social scientists, and the theatre-going public.” John Forrest, Dance Research Journal, 16(2):35, 1984

1. Introduction
2. First Steps; Feeling through the Ages
3. Hoofing to Freedom with Soul and Sole: Briggs, Sims, and Green
4. Touched by the Timeless Female Creator and Destroyer: Indrani Dances Kuchipudi
5. Resurrecting a Tamiris Spiritual: Repertory Dance Theatre of Utah
6. Symbiosis and Short-Circuit in the Avant-Garde: Douglas Dunn
7. Men Usurp Women’s Public Kabuki: Sachiyo Ito Renews Women’s Performance
8. Shifting Illusions—Does the Emperor Wear Clothes? Sage Cowles and Molly Davies
9. Cultural Cross-Currents and Creative Identity: The Philippine Dance Company of New York
10. Good versus Evil: Kathakali Dance-Drama from the Kerala Kalamandalam
11. Curtain and Concert Comparisons: Summing Up
12. The Punch of Performance: Re-Creation

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