Abstract
In the introduction, I discussed the many different and often diametrically opposed understandings of empathy. Rather than selecting one definition over another, I suggested, following Gail S. Reed, that we need to understand empathy as a process entailing a wide range of impulses, desires, and reactions. This extends beyond recognizing the deeply imbricated nature of affect and cognition; it requires us to see the project of attempting to understand others as a careful balancing of opposing tensions. This is akin to how Dwight Conquergood defines dialogic performance: “More than a definite position, the dialogical stance is situated in the space between competing ideologies. It brings self and other together even while it holds them apart. It is more like a hyphen than a period.” Like dialogic performance, empathy holds people in relationship—connected but not conflated. Empathy exists between: between people; between the urge to share experience and the need to retain that experience as our own; between similarity and difference; between singularity and generalizability.
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Notes
- 1.
Dwight Conquergood, “Performance as a Moral Act: Ethical Dimensions of the Ethnography of Performance,” in Cultural Struggles: Performance, Ethnography, Practice, ed. E. Patrick Johnson (Ann Arbor: University of Michigan Press, 2013): 65–80.
- 2.
Jamison, 5.
- 3.
Jamison, 4–5.
- 4.
Amy Shuman, Other People’s Stories, 4.
- 5.
Jamison, 5.
- 6.
Personal conversation, April 26, 2015.
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Cummings, L.B. (2016). Conclusion. In: Empathy as Dialogue in Theatre and Performance. Palgrave Macmillan, London. https://doi.org/10.1057/978-1-137-59326-9_6
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DOI: https://doi.org/10.1057/978-1-137-59326-9_6
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