Adam Gerstenfeld The Embodiment of Emotion Humans derive an innate pleasure from watching the body move in a contorted

arrangement, an obscure angle, or an effortless flow. Yet, we rarely ask ourselves why this occurs. We gain no physical benefit from watching a performance, only a release of aesthetic pleasureperhaps a subtle indication as to how our priorities should align when considering the Good Life. Art in motion, like that of the dance production Rioult, allows us to live vicariously through the performers; we are transcending our physical form to experience embodiment, a concept well heeded by Lenore Wadsworth Hervey, the author of Embodied Ethical Decision Making. Additionally, active participation in these events begets an appreciation of culture and simplicity, major tenets in achieving the Good Life. Embodiment, according to Hervey, is the awareness of emotions, sensations and intuitions, going beyond the muscular/skeletal system (Hervey 94). Out of the four acts in the performance, one piece grabbed my attention and my senses the most: the tragedy of Helen of Troy. This was a tale of salvation, and I felt the angst portrayed in every angle. I emphasize angle and not motion because we saw different perspectives of the same person, not necessarily a flowing chronological story. Each movement was so ephemeral and so present, that the word experiencing, an extension of embodiment, is appropriately applied here when concerning how the audience perceived the dance. Each viewer experienced an inward receptivity of a living body (Hervey 93) in the sense that there was an intrinsic connection between the physical movement of the dancers, and the emotional impact on the theatergoers. When Helen leapt into the arms of one man, I observed outstretched fingers and tightened calves, not as an admission of imbalance, but as an emblem of courage, faith, and inevitably, regret.

On a basic viewing level, Rioult was enjoyable to watch because it allowed me to participate in a foreign activity, in something as simple as watching a dance production. Yet, as the program stated, Rioults depiction of this ancient saga existed on a much deeper level, especially when concerning his emphasis on redemption. Helen had always been portrayed as both a harlot and an instigator, weak in her control of own fate, and inexorably the cause of others demise. This was a new spin on the saga, as it portrayed Helen as an innocent woman defined by Fates cruel intentions, and denied by her society. I can relate to the theme of isolation through my own life experiences, as well as empathize with Helens struggle to overcome forces stronger than her. We see Helen as incapable of overcoming her situation, but also understand we have all been Helen at one time or another. This is exactly why embodiment, through the process of being fully engaged in a performance, is crucial in understanding the Good Life; it allows us to understand we are not alone, and our emotions are not unique. Embodiment, in its purest form, is the awareness of something greater than us. The efficacy of this concept is best exemplified by our open-mindedness toward each other, a quality I attempt to emphasize in my own life. When we try to put ourselves in someone elses position, we not only achieve a better understanding of their life, but also a clearer gauge of our own Good Life.

Bibliography Hervey, Lenore Wadsworth. "Embodied Ethical Decision Making." American Journal of Dance Therapy. Vol. 29, No. 2 (2007): 91-107. Print