Abstract: Les théories les plus récentes de l’embodiment suggèrent qu’entendre des sons signifie percevoir un mouvement. À partir de ces théories, l’article développe une base théorique du théâtre musical expérimental en tant que théâtre des sons et mouvements. Les exemples étudiés sont extraits d’œuvres de John Cage, Mauricio Kagel, Gerardo Gandini et Damián Rodríguez Kees.
Topics: AestheticsCognitive scienceVisual arts
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