Bibliographies thématiques / Emotions in the performing arts

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Littérature scientifique sur le sujet « Emotions in the performing arts »

Auteur : Grafiati
Publié le 25 juillet 2024
Mis à jour le 31 juillet 2025

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Articles de revues sur le sujet "Emotions in the performing arts"

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Zhang, Yao. "Analysis of Implication in Performing Arts." Scientific and Social Research 6, no. 12 (2024): 153–57. https://doi.org/10.26689/ssr.v6i12.9092.

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The moral is expressed in words, the image expresses the meaning, the performance creation interprets the content and the emotion in the text category with the image symbol, the seductive observation and listening influences the human disposition, invents the character, and observes the life individual in the universe. Performing art is an objective representation of spiritual life, which cannot be contrasted with the physical level of real life. It focuses on the cultivation of meaning. The creative subject uses subjective feelings to create meaningful space, transmit infinite emotions, and e
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Tait, Peta. "Performing Species Kinship and Strange Emotions." Performance Research 23, no. 3 (2018): 92–99. http://dx.doi.org/10.1080/13528165.2018.1495953.

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Coad, Luman. "Movement – Puppet Sized." Canadian Theatre Review 95 (June 1998): 17–20. http://dx.doi.org/10.3138/ctr.95.004.

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Alive actor employs a range of communication tools. Voice, facial expression, body language and movement are used individually or in combination to convey a precise emotional nuance. If one of these tools is unavailable, the emotions to be projected must be altered to suit the remaining tools or those tools must be modified to project more of the emotion’s essence. Either way the emotion is portrayed in an other-than-realistic manner.
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Son, Ji-Yeong, and Byeong-Ju Ahn. "The Effect of Performing Arts Viewing Experience on Youth Emotions." Korean Journal of Sports Science 31, no. 6 (2022): 609–24. http://dx.doi.org/10.35159/kjss.2022.12.31.6.609.

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Johnson-Laird, P. N., and Keith Oatley. "Emotions, Simulation, and Abstract Art." Art & Perception 9, no. 3 (2021): 260–92. http://dx.doi.org/10.1163/22134913-bja10029.

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Abstract Some people feel emotions when they look at abstract art. This article presents a ‘simulation’ theory that predicts which emotions they will experience, including those based on their aesthetic reactions. It also explains the mental processes underlying these emotions. This new theory embodies two precursors: an account of how mental models represent perceptions, descriptions, and self-reflections, and an account of the communicative nature of emotions, which distinguishes between basic emotions that can be experienced without knowledge of their objects or causes, and complex emotions
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Tubillejas-Andrés, Berta, Amparo Cervera-Taulet, and Haydee Calderón García. "Feeling emotions in the public performing arts sector: does gender affect?" International Review on Public and Nonprofit Marketing 16, no. 1 (2018): 1–22. http://dx.doi.org/10.1007/s12208-018-0216-4.

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Troilo, Gabriele, Maria Cristina Cito, and Isabella Soscia. "Repurchase Behavior in the Performing Arts: Do Emotions Matter without Involvement?" Psychology & Marketing 31, no. 8 (2014): 635–46. http://dx.doi.org/10.1002/mar.20724.

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Fan, Jinming, Xiaoli Ni, Ting Wu, Yidi Wang, and Yuyan Qian. "Psychological Benefits of Arts Participation for Emerging Adulthood: A Pathway to Flourishing." Behavioral Sciences 14, no. 6 (2024): 448. http://dx.doi.org/10.3390/bs14060448.

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This study examined 430 Chinese college students’ engagement in arts activities and the psychological benefits derived from such activities. The research differentiated between various types of arts participation and ways of involvement and examined four potential positive psychological outcomes. The findings revealed correlations between (1) creative participation in the performing arts, ‘flow’, and aesthetic emotions; (2) consumptive participation in the visual arts and aesthetic emotions; and (3) creative participation in the literary arts and ego identity. Holistic arts participation demon
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Natalia Ivanivna, YORDAN. "IMPROVEMENT OF PERFORMING PROFESSIONAL COMPETENCES OF PERFORMING ARTS SPECIALISTS IN THE CONTEXT OF USING GROUND GYMNASTICS EXERCISES." Academic Notes. Series: Pedagogical Sciences 13 (April 30, 2025): 164–69. https://doi.org/10.59694/ped_sciences.2025.13.164.

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ERFORMING ARTS SPECIALISTS IN THE CONTEXT OF USING GROUND GYMNASTICS EXERCISES The modern trends in the use of the discipline of parker gymnastics in the process of improving the performing professional competencies of full-time (part-time) higher education students in the field of knowledge «Culture, Arts and Humanities», specialty B6 Performing Arts (0215 Music and performing arts), specialization B6.01 Performing Arts and B6.03 Choreography are investigated. Its importance for the development of professional physical qualities of artists, in particular flexibility, muscle strength, enduranc
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Nikitha, Gaddam. "Impact of Performing Arts on Individual and Health Management." AKSHARASURYA 04, no. 01 (2024): 121 to 130. https://doi.org/10.5281/zenodo.11163000.

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The performing arts are widely recognized for their culture, tradition, and mythology. However, they have also gained recognition for their ability to evoke emotions. According to Natyashastra, performing arts are meant for entertainment, but they also have an enormous impact on individual well-being and both physical and mental health management. This abstract provides an overview of research on this topic, highlighting the composite benefits of the performing arts.Discipline plays an instrumental part in the performing arts. The meticulous training and practice needed in performing arts stim
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Thèses sur le sujet "Emotions in the performing arts"

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Brundage, Kimberly A. "Understanding the Role of Emotions and Social Influences in Charitable Giving Decisions." University of Akron / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=akron1417865883.

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Woods, Belinda Jane. "Ritual perspectives : an investigation into the epistemology of performance /." Connect to thesis, 2010. http://repository.unimelb.edu.au/10187/7116.

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This dissertation takes the form of an inter-subjective investigation into the ritual of performance, considering its function in terms of community engagement and its place in contemporary society. Ritual is placed in a secular context in which music is performed through the development of individual artistic expression, yet presented in a way that engages the audience as active participants. In this way audience and performer are united in experiencing the affect of music upon the emotions and the mind.<br>The views of art theorists, historians and critics, anthropologists, musicologists and
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Smith, Jacqueline. "Emotional well-being in children and adolescents attending specialist schools for the performing arts." Thesis, University College London (University of London), 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.264169.

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Rowe, Katherine. "Childhood Development: How the Fine and Performing Arts Enhance Neurological, Social, and Academic Traits." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/honors/464.

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Abstract Childhood development has always been a major topic when studying psychology and biology. This makes sense because the brain develops from the time a child is conceived to the time that child has reached around the age of twenty-seven. Doctors, psychologists, and sociologists look at numerous things when studying childhood development. However, how common is it for researchers to study how the fine and performing arts affect childhood development? Sociologists tend to be extremely open and mindful of all aspects of things such as culture, sexuality, religion, and even age. By taking a
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Pietraroia, Regina. "The Effects of Dance Education on the Emotional Intelligence of Underserved Students." University of Akron / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=akron1321294319.

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Pandolfi, de Rinaldis Gianna. "Fighting for Health: Theatre of the Oppressed as a Therapeutic Technique that Explores Changes in the Emotional State of Cancer Patients and Survivors." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1312437259.

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Albrecht, Joshua David. "Affective Analysis of Music Using the Progressive Exposure Method: The Influence of Bottom-Up Features on Perceived Musical Affect." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338310010.

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Diaz, Raymond. "Primo Passaggio: Measures Associated with Different Interpretations Sung by an Elite Soprano Performer." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1522530897483835.

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Schindeler, Marda. "Alberta performing arts policy." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0006/MQ38440.pdf.

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Schindeler, Marda, and University of Lethbridge Faculty of Arts and Science. "Alberta performing arts policy." Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Science, 1998, 1998. http://hdl.handle.net/10133/77.

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Alberta's first arts legislation, the Cultural Development Act, was passed in 1946. It was followed by numerous policy initiatives to support the arts, including creation of facilities for training of artists, development of agencies and agreements to deal with arts funding, enactment of regulations to guide arts institutions, and creation of various Departmental structures depending on organizational location of this policy sector. The thesis examines the historical evolution of performing arts policy in Alberta from 1905 to 1997 to identify government activities, shifts in policy-making, and
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Livres sur le sujet "Emotions in the performing arts"

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Renate, Zylla, and Internationale Filmfestspiele Berlin, eds. Blicke, Begegnungen, Berührungen: 25 Jahre Kinderfilmfest 1978-2002 = Moments, meetings, emotions. Jovis, 2002.

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Garland, Leah. Performing autobiography in U.S. Latina theater: Emotions that matter. P. Lang, 2005.

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1969-, Brütsch Matthias, ed. Kinogefühle: Emotionalität und Film. Schüren, 2005.

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Garland, Leah. Performing Identity: Cherríe Moraga, Carmelita Tropicana, and Não Bustamante. P. Lang, 2005.

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Garland, Leah. Performing Identity: Cherríe Moraga, Carmelita Tropicana, and Não Bustamante. P. Lang, 2005.

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Hill, Wes. Speech Acts: Richard Grayson and Matt Mullican. UTS ePRESS, 2017.

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Jarzebowski, Claudia, and Anne Kwaschik, eds. Performing Emotions. V&R unipress, 2021. http://dx.doi.org/10.14220/9783862349609.

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Mason, Antony. Performing arts. Mason Crest, 2003.

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Seupel, Celia W. Performing arts. Ferguson, 2010.

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Fadlu-Deen, Kitty. Performing arts. People's Education Association of Sierra Leone, 1995.

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Chapitres de livres sur le sujet "Emotions in the performing arts"

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Furnham, Adrian. "Emotional Intelligence, Personality Disorders and the Performing Arts." In Psychotherapy, Literature and the Visual and Performing Arts. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-75423-9_13.

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Maddox, Alan. "Performing emotions." In Sources for the History of Emotions. Routledge, 2020. http://dx.doi.org/10.4324/9780429291685-11.

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Kwaschik, Anne. "Folter in der Republik? Gewalt, rechtsstaatliche Ordnung und »emotionale Navigation« in der Auseinandersetzung liberaler Demokratien mit dem Terrorismus." In Performing Emotions. V&R unipress, 2021. http://dx.doi.org/10.14220/9783862349609.283.

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Baumol, William J. "Performing Arts." In The World of Economics. Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21315-3_72.

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McIntyre, Phillip, Susan Kerrigan, Janet Fulton, Evelyn King, and Claire Williams. "Performing Arts." In Palgrave Studies in Creativity and Culture. Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-45972-6_6.

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Baumol, William J. "Performing Arts." In The New Palgrave Dictionary of Economics. Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1057/978-1-349-95121-5_1706-1.

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Baumol, William J. "Performing Arts." In The New Palgrave Dictionary of Economics. Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-349-95189-5_1706.

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Runco, Mark A. "Performing arts." In Encyclopedia of psychology, Vol. 6. American Psychological Association, 2000. http://dx.doi.org/10.1037/10521-034.

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Saeji, CedarBough T. "Performing Arts." In The Routledge Handbook of Early Modern Korea. Routledge, 2025. https://doi.org/10.4324/9781003262053-28.

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Giaretta, David. "Contemporary Performing Arts TestbedTestbed Contemporary Performing Arts Testbed." In Advanced Digital Preservation. Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-16809-3_22.

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Actes de conférences sur le sujet "Emotions in the performing arts"

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Moeller, Carsten, and Toby Hodsdon. "NEW PERFORMING ARTS VENUE CROSS-LAMINATED TIMBER AUDITORIUM." In World Conference on Timber Engineering 2025. World Conference On Timber Engineering 2025, 2025. https://doi.org/10.52202/080513-0155.

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TOMUȘ, Ionuț. "General Considerations on Performing Poetry in the Current Performing Arts Context." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0012.

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The contemporary theatre landscape seems to have strayed away from the feelings specific to poetry and to reciting it in front of an audience. The topics preferred by theatrical productions now, at the beginning of the XXIst Century, are strongly connected to the social realities one encounters on a daily basis. Certainly, it is reasonable for things to be this way, as theatre depends on firmly anchoring itself in reality, and the means of expression and of conveying emotion have, now, particularities that no one would have thought of fifty years ago. The present study intends to bring perform
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Bertoncini, Massimo, and Irene Buonazia. "EMOTIONAL INTERFACES IN PERFORMING ARTS: THE CALLAS PROJECT." In Electronic Visualisation and the Arts (EVA 2008). BCS Learning & Development, 2008. http://dx.doi.org/10.14236/ewic/eva2008.3.

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Ryu, Semi, Miles Popiela, Henry Bryant, et al. "SentimentVoice: Integrating Emotion AI and VR in Performing Arts." In SIGGRAPH Immersive Pavilion '25: Special Interest Group on Computer Graphics and Interactive Techniques Conference Immersive Pavilion. ACM, 2025. https://doi.org/10.1145/3721245.3734053.

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Zhao, Sicheng, Guiguang Ding, Qingming Huang, Tat-Seng Chua, Björn W. Schuller, and Kurt Keutzer. "Affective Image Content Analysis: A Comprehensive Survey." In Twenty-Seventh International Joint Conference on Artificial Intelligence {IJCAI-18}. International Joint Conferences on Artificial Intelligence Organization, 2018. http://dx.doi.org/10.24963/ijcai.2018/780.

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Images can convey rich semantics and induce strong emotions in viewers. Recently, with the explosive growth of visual data, extensive research efforts have been dedicated to affective image content analysis (AICA). In this paper, we review the state-of-the-art methods comprehensively with respect to two main challenges -- affective gap and perception subjectivity. We begin with an introduction to the key emotion representation models that have been widely employed in AICA. Available existing datasets for performing evaluation are briefly described. We then summarize and compare the representat
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Gomes, Genildo, Fernando Nogueira, João Gustavo Kienen, et al. "Beyond Applause: A Collaborative and Interactive Experience in Piano Concerts." In Simpósio Brasileiro de Sistemas Colaborativos. Sociedade Brasileira de Computação, 2025. https://doi.org/10.5753/sbsc.2025.8661.

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Classical piano concerts traditionally position audiences as passive observers, limiting their emotional expression and participation primarily to applause after the performance. This passive stance contrasts sharply with modern interactive events, creating a gap between audience expectations and classical concert formats. This study explores how the audience can collaboratively contribute to shaping an interactive scenic environment in piano concerts without disrupting the musician’s performance. By leveraging the FeelIt application, we introduce a novel approach that enables real-time audien
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Pirjo, Suvilehto. "“Puppetry and Opera Are Striking.” Students’ Experiences of Collaboration and Curiosity in Puppetry Opera as a Case Study." In 2nd International Conference on Advanced Research in Education. Acavent, 2019. http://dx.doi.org/10.33422/2nd.educationconf.2019.11.794.

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This paper will focus on the possibilities of puppetry and opera in early childhood education studies (ECE), and among children in day care in a class of twenty 4−5-year-olds. The research centres around 200 university students in the middle of a project on opera and puppetry in their ECE programme. Opera is about strong emotions (see Trevarthen 2012, 263), and puppetry is a vehicle to make feelings visible (Lintunen, 2009, Majaron 2012, 11, Scheel, 2012). Puppetry and opera can be used in collaboration, and they are combined in this ECE programme as a part of the university studies in drama a
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Alvarez-Jimenez, Alberto, Karen Barbour, Rodrigo Hill, Xavier Meade, and Declan Patrick. "Solastalgia: conflict and the fabric of life. Transdisciplinary creative practice research approaches." In LINK 2023. Tuwhera Open Access, 2023. http://dx.doi.org/10.24135/link2022.v4i1.201.

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The focus of this keynote presentation is to explore the value of transdisciplinary and creative practice research approaches to address complex concepts and principles. One of the outputs of this research was Solastalgia: conflict and the fabric of life, a gallery installation exhibited at Ramp Gallery in August 2023. This collaboration began with conversations between researchers in law, and visual and performing arts, in relation to international humanitarian law, specifically the principles of distinction and proportionality. As the research progressed, the pivot point became the investiga
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Stolterman, Erik. "Session details: Performing arts." In CHI '11: CHI Conference on Human Factors in Computing Systems. ACM, 2011. http://dx.doi.org/10.1145/3249024.

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Miklavcic, Jimmy. "Collaborative performing arts---InterPlay." In the 2006 ACM/IEEE conference. ACM Press, 2006. http://dx.doi.org/10.1145/1188455.1188783.

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Rapports d'organisations sur le sujet "Emotions in the performing arts"

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Wilkerson, A. M., T. C. Abell, and E. Perrin T. LED Lighting in a Performing Arts Center. Office of Scientific and Technical Information (OSTI), 2015. http://dx.doi.org/10.2172/1220538.

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Miller, N. J., S. M. Kaye, P. M. Coleman, A. M. Wilkerson, T. E. Perrin, and G. P. Sullivan. LED Lighting in a Performing Arts Building. Office of Scientific and Technical Information (OSTI), 2014. http://dx.doi.org/10.2172/1221092.

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Voss, Zannie, and Glenn Voss. The Alchemy of High-Performing Arts Organizations. SMU DataArts, 2020. http://dx.doi.org/10.59656/a-g4329.001.

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Ozdil, Taner R., James Richards, Ryan Brown, Justin Earl, and Dylan Stewart. AT&T Performing Arts Center: Sammons Park. Landscape Architecture Foundation, 2014. http://dx.doi.org/10.31353/cs0790.

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Rogers, Amanda. Cambodian Audience Engagement in the Performing Arts: Cambodian Living Arts 2022 Cultural Season. Swansea University, 2023. http://dx.doi.org/10.23889/sureport.65084.

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Project Report There is growing research on arts audiences - particularly regarding theatre and dance (Sedgman 2019; Walmsley 2019; Reason et al 2022). However, much of this work remains centred on the ‘Global North’ and there is little published research on arts audiences in South East Asia in general, and Cambodia in particular. The exception to this is our previous report (Rogers et al 2021) which was the first time that research has examined audience composition, understanding and preferences for the performing arts in Phnom Penh. This research raised a bigger question around who the arts
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Milesi Ferretti, Natascha, Michael A. Galler, Steven T. Bushby, Robert W. Leader, J. Michael Whitcomb, and David W. Rush. Retro-commissioning a performing arts center using HVAC-Cx. National Institute of Standards and Technology, 2019. http://dx.doi.org/10.6028/nist.tn.2027.

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Miller, Naomi, Stan Kaye, Patricia Coleman, Andrea Wilkerson, Tess Perrin, and Gregory Sullivan. LED Lighting in a Performing Arts Building at the University of Florida. Office of Scientific and Technical Information (OSTI), 2014. http://dx.doi.org/10.2172/1165331.

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Aebischer, Pascale, Karen Gray, Kelsey Jacobson, Barbara Fuchs, and Heidi Lucja Liedke. Pandemic Preparedness in the Live Performing Arts: Lessons to Learn from COVID-19. The British Academy, 2024. http://dx.doi.org/10.5871/panprep/9780856726873.001.

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Voss, Zannie, and Glenn Voss. The Alchemy of High-Performing Arts Organizations, Part II: A Spotlight on Organizations of Color. SMU DataArts, 2021. http://dx.doi.org/10.59656/a-ao9815.001.

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Ostrower, Francie, and Thad Calabrese. Audience Building and Financial Health in the Nonprofit Performing Arts: Current Literature and Unanswered Questions. The University of Texas at Austin, 2019. http://dx.doi.org/10.59656/a-ad5463.001.

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