This book provides an accessible yet sophisticated introduction to the significant philosophical issues concerning the performing arts. Presents the significant philosophical issues concerning the performing arts in an accessible style, assuming no prior knowledge Provides a critical overview and a comprehensive framework for thinking about the performing arts Examines the assumption that classical music provides the best model for thinking about artistic performance across the performing arts Explores ways in which the ‘classical paradigm’ might be extended to other musical genres, to theatre, and to dance Applies the thinking on performing arts to the issue of ‘performance art’
This is an examination of the criteria for identifying, evaluating, and appreciating art forms that require performance for their full realization.
The fifteen original essays in Staging Philosophy make useful connections between the discipline of philosophy and the fields of theater and performance and use these insights to develop new theories about theater.
Howard Gardner adapts Csikszentmihalyi's model of creativity to his own developmental study of seven creative individuals of the twentieth century : Freud , Einstein , Picasso , Stravinsky , Eliot , Graham , and Gandhi .
Hence the book claims that a trans-disciplinary dialogue between the art of acting and the art of philosophical thinking calls for an aesthetical research that questions and begins to seek alternatives to traditionally established and ...
The book engages questions of theatrical inspiration, the actor’s “energy,” the difference between acting and pretending, the special role of repetition as part of live acting, the audience and its attraction to acting, and the unique ...
A collection of new essays on the philosophy of theatre and the philosophy of drama, combining historical perspectives and new directions.
Writing about Hamlet, Bertrand Russell claims that 'the propositions in the play are false because there was no such man'.9 There is something that seems right about Russell's remark. The play is a work of fiction – it is made up.
Ramshaw, S. (2013) Justice as Improvisation: The Law of the Extempore, London and New York: Routledge. ... Smith, H. and Dean, R. (1997) Improvisation Hypermedia and the Arts since 1945, London and New York: Routledge.
The essays collected in this volume address these issues from wide-ranging perspectives and approaches.
seem to invite asymmetric, non-interactive modes of perception, in that the beholder perceives the beheld but not the ... kind of engagement.125 This is clearly the case, for example, when I encounter a painting of one or more people.