Clare Dyson illustrates her account of proximity in the relationship of audience and performer with examples from her own intriguing choreographies. How close is close? What does being a member of an audience, as opposed to being an ordinary person in an ordinary place mean?
In This Article
Catherine Stevens and Renee Glass (MARCS Auditory Laboratories, University of Western Sydney) describe their different methods and tools of analysis to investigate how the mind works when creating and/or watching dance or movement. Methods include a case study of choreographic cognition and development and application of a psychometric instrument called the Audience Response Tool.