"In what ways might one come to feel inhabited by the sense of motion, but also emotion conveyed in and by another's body movement?" (Susan Leigh Foster, "Choreographing Empathy", p. 81)
-Rainer's analysis of dance separates the kinetic from the emotional
"Rainer worked assiduously to cultivate and valorize a 'pure' physicality and to imbue it with its own kind of power and dynamism, in part in order to eschew claims of universal sharings of values based in universally shared emotional states." (Foster, 89)
"In contemporary discourse, empathy is frequently viewed as embodied simulation and sympathy as a response involving feelings." (Matthew Reason and Dee Reynolds, "Kinesthesia, Empathy, and Related Pleasures: An Inquiry into Audience Experience of Watching Dance", p. 53)
Two different interpretive motivations in dance:
Don: "engagement and empathy are produced by intimacy and intensity."
Nicole: "a degree of distance, facilitated by music, is necessary for a kind of empathetic engagement, which involves a suspension of reality." (Reason and Reynolds, 70)
-three different methods of engagement with dance: sympathy, empathy, contagion (Reason and Reynolds, 71)
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