Live theatre as exception and test case for experiencing negative emotions in art
- PMID: 29342788
- DOI: 10.1017/S0140525X17001704
Live theatre as exception and test case for experiencing negative emotions in art
Abstract
Distancing and then embracing constitutes a useful way of thinking about the paradox of aesthetic pleasure. However, the model does not account for live theatre. When live actors perform behaviors perceptually close to real life and possibly really experienced by the actors, audiences may experience autonomic reactions, with less distance, or may have to distance post-experiencing/embracing their emotions.
Comment in
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Negative emotions in art reception: Refining theoretical assumptions and adding variables to the Distancing-Embracing model.Behav Brain Sci. 2017 Jan;40:e380. doi: 10.1017/S0140525X17001947. Behav Brain Sci. 2017. PMID: 29342806
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