affective neuroscience, 3, 13

anterior cingulate cortex (ACC), 22

artistic

collaboration, xiii, 57, 62

communication, 7, 38, 55

expression, 3, 7, 26

process(es), 51–52, 67

training, 7, 33

vision, 251

arts, the, 2–4, 37, 40, 42, 51, 54, 56–57, 245

audience(s), 12, 16–18, 30, 34, 38–40, 42, 50–51, 55–56, 90, 121, 136, 140, 157, 168, 193, 227, 244–245, 253

auditory system(s), 35, 244

bel canto, 64

blacklight (theatre), 143–145, 166–167, 200, 204, 206, 225

bodily communication, 12, 18

bodymind(s), 13, 20–21, 24, 35, 37, 43, 244, 251

Bruner, Jerome, 19, 66, 68, 70, 251

Callas, Maria, 38–40, 43, 244

categorisation(s), 19, 72, 239, 247

Chaplin, Charlie, 52

characterisation(s) (N.B. not as a Lanigraph category), xiii, 31, 37, 47, 54, 56, 70, 113, 135–136, 174–175, 180, 198, 202, 228, 230, 232, 249

collaboration, xiii, 7–8, 10, 43–44, 49, 53–54, 57, 62, 171, 194, 246, 253

community of practice, 24, 205

conductor(s), 39–40, 144, 170, 175, 179, 241, 243

cultural learning, 24

Darwin, Charles, 15

demonstration(s) (N.B. not as a Lanigraph category), xiv–xv, 5, 7, 10–11, 30–31, 41, 48, 54, 62, 73, 90, 113, 183, 234, 239

Diaghilev’s Ballets Russes, 240

directorial communication, 6, 21, 102, 117, 141, 156, 206, 219, 224, 227–228, 252

directorial style(s), xv–xvi, 57, 90, 109, 120, 136, 144, 195, 197–198, 208, 221, 229, 235–237, 245–246, 249–250, 252

directorial vision, 112, 172, 180, 194, 232

emotional expression(s), 2, 20, 39, 56

emotional memor-y (-ies), 18, 21

emotion(s), 2–3, 6–7, 10, 18–22, 26, 32–33, 37, 39, 50–51, 56, 135, 141, 177, 245, 253

emotive qualities, 2–3, 248

evaluation(s), 81, 86, 136, 235, 252

expressive movement, 3