Peta Tait is Professor of Theatre and Drama at La Trobe University, Australia and a Fellow of the Australian Academy of the Humanities.

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• List of FiguresAcknowledgementsIntroductionForms of EmotionChapter SummariesFraming the Emotions, Emotional Feelings, Mood and AffectPerforming Is Not Feeling that EmotionChapter one: Affect Theory and Performance IntentionPerformance DistinctionsFeeling DividedAffect CurrentsContested IntentionsLive Performance – In TheoryImpersonal Affect and Personal FeelingPresence and TransmissionResistanceFormless Affect and Aesthetic FormChapter two: Judging Pity, Fear and HumannessPity and Fear in ActionFear of ShameOpposition ShocksWonder and CatharsisSocial ObedienceMimetic NaturesTowards CompassionFear and AnimalnessChapter three: Appraising Emotional FeelingTalk of FeelingNavigating ObstructionSubstitute PassionsAppraisal of Emotional FeelingUgly MetaphorInexplicable FeelingCruel Structures of Colonized FeelingChapter four: Performing Moods, Tears and Bodily PhenomenaTheatrical ExchangeModernist ConvergenceActing an Inner SelfImagined spaces of Longing and HappinessDoing Bodily AffectPerforming FreedomUnifying Aesthetic MoodsChapter five: Political Belief and Social Cognition of EmotionsContesting CourageActing Science and the Brain–BodyTrauma’s AffectUnifying Empathy Theatre’s Emotional EconomyEmotional Feeling as BeliefChapter six: En/Acting Diverse Emotional FreedomsRule-breaking ParadoxLove’s Force FieldsHuman Right to Emotional FeelingPolitics of FearRage Against Postemotional DenialTheatrical FreedomsChapter seven: Animals and Anthropocentric EmotionalismComic SurrogatesTragic SymbolsSensory Body InsensitivityPerforming Emotional ConnectionsChapter eight: Enveloping the Nonhuman: Contemporary Indigenous PerformanceCollaborating TraditionsContinuities in StorytellingBodily Perceiving MovementUnity in Bangarra’s Dark EmuEnveloping Affect and Emotional MovementFeeling Knowledge and Nonhuman TimeChapter nine: Prosodies of Affect and Emotional ClimatesWalkingWeather WorldsMotivating TalkingBreathingConclusion: SharingReferencesIndex

Peta Tait is Professor of Theatre and Drama at La Trobe University, Australia and a Fellow of the Australian Academy of the Humanities.

Select Guide Rating

• List of FiguresAcknowledgementsIntroductionForms of EmotionChapter SummariesFraming the Emotions, Emotional Feelings, Mood and AffectPerforming Is Not Feeling that EmotionChapter one: Affect Theory and Performance IntentionPerformance DistinctionsFeeling DividedAffect CurrentsContested IntentionsLive Performance – In TheoryImpersonal Affect and Personal FeelingPresence and TransmissionResistanceFormless Affect and Aesthetic FormChapter two: Judging Pity, Fear and HumannessPity and Fear in ActionFear of ShameOpposition ShocksWonder and CatharsisSocial ObedienceMimetic NaturesTowards CompassionFear and AnimalnessChapter three: Appraising Emotional FeelingTalk of FeelingNavigating ObstructionSubstitute PassionsAppraisal of Emotional FeelingUgly MetaphorInexplicable FeelingCruel Structures of Colonized FeelingChapter four: Performing Moods, Tears and Bodily PhenomenaTheatrical ExchangeModernist ConvergenceActing an Inner SelfImagined spaces of Longing and HappinessDoing Bodily AffectPerforming FreedomUnifying Aesthetic MoodsChapter five: Political Belief and Social Cognition of EmotionsContesting CourageActing Science and the Brain–BodyTrauma’s AffectUnifying Empathy Theatre’s Emotional EconomyEmotional Feeling as BeliefChapter six: En/Acting Diverse Emotional FreedomsRule-breaking ParadoxLove’s Force FieldsHuman Right to Emotional FeelingPolitics of FearRage Against Postemotional DenialTheatrical FreedomsChapter seven: Animals and Anthropocentric EmotionalismComic SurrogatesTragic SymbolsSensory Body InsensitivityPerforming Emotional ConnectionsChapter eight: Enveloping the Nonhuman: Contemporary Indigenous PerformanceCollaborating TraditionsContinuities in StorytellingBodily Perceiving MovementUnity in Bangarra’s Dark EmuEnveloping Affect and Emotional MovementFeeling Knowledge and Nonhuman TimeChapter nine: Prosodies of Affect and Emotional ClimatesWalkingWeather WorldsMotivating TalkingBreathingConclusion: SharingReferencesIndex