The Amplification of Affect: Tension, Intensity and Form in Modern Dance
Keyword(s):
The Body
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In Chapter 5 affect is considered as corporeal tension and intensity in two modernist works by the Ballets Russes, Léonide Massine’s Parade (1917) and Vaslav Nijinsky’s L’après-midi d’un faune (1912). Following Massumi’s theory of affect as an autonomous intensity and Susan Langer’s similarly transcorporeal notion of a “continuum of feeling,” the chapter explores forms of dance in which affect is grounded in the material gestures of the body and located in the tensions required to create these abstract forms. Feeling was not suppressed in avant-garde dance but rather depersonalised and de-psychologised, following a different logic from the model of emotion as self-expression that dominated classical ballet in the nineteenth century.