Abstract
ABSTRACT“Kinesthesia, Synesthesia and Le Sacre du Printemps: Responses to Dance Modernism” discusses the reception of Vaslav Nijinsky's controversial choreography to Igor Stravinsky's Le Sacre du Printemps (1913) in the light of kinesthesia, or movement sense, and synesthesia or the merging of the senses. Dr. Järvinen argues that the invention of kinesthetic sense and particularly the theory of expression linked with this notion, kinesthetic sympathy, were historically and culturally specific responses to increasing abstraction as a goal in the arts, also seen in Le Sacre du Printemps, a work aiming to produce synesthetic experiences in the spectators.
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