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Live theatre as exception and test case for experiencing negative emotions in art
Published online by Cambridge University Press: 29 November 2017
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.
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Target article
The Distancing-Embracing model of the enjoyment of negative emotions in art reception
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Author response
Negative emotions in art reception: Refining theoretical assumptions and adding variables to the Distancing-Embracing model