Davies Philosophy of the Performing Arts

1. Auflage 2011
ISBN: 978-1-4443-4344-1
Verlag: John Wiley & Sons
Format: EPUB
Kopierschutz: Adobe DRM (»Systemvoraussetzungen)

E-Book, Englisch, 248 Seiten, E-Book

Reihe: Foundations of the Philosophy of the Arts

This book provides an accessible yet sophisticated introduction tothe significant philosophical issues concerning the performingarts.
* Presents the significant philosophical issues concerning theperforming arts in an accessible style, assuming no priorknowledge
* Provides a critical overview and a comprehensive framework forthinking about the performing arts
* Examines the assumption that classical music provides the bestmodel for thinking about artistic performance across the performingarts
* Explores ways in which the 'classical paradigm'might be extended to other musical genres, to theatre, and todance
* Applies the thinking on performing arts to the issue of'performance art'

Autoren/Hrsg.

Davies, David

Inhaltsverzeichnis

Part I: Performance and the Classical Paradigm.
Chapter 1 The Nature of Artistic Performance.
I Introduction.
II What is a performance?
III 'Institutional' theories of artisticperformance.
IV 'Aesthetic' theories of artistic performance.
V Artistic performance and 'artistic regard'.
VI Overview.
Chapter 2 The Classical Paradigm I: The Nature of thePerformable Work.
I Introduction: Berthold and Magda go to the symphony.
II The 'multiple' nature of performable works.
III Performable works as 'types'.
IV Varieties of 'type' theories: sonicism,instrumentalism, and contextualism.
V Other theories of the performable work.
a/ Performable works as 'indicated' types.
b/ Performable works as 'continuants'.
c/ Performable works as indicatings of types.
d/ Fictionalism about performable works.
Chapter 3 The 'Classical Paradigm' II: AppreciatingPerformable Works in Performance.
I Introduction: talking appreciatively about performableworks.
II Can performable works share artistic properties with theirperformances?
III The 'Goodman argument' .
IV Answering the 'Goodman argument'.
Chapter 4 Authenticity in Musical Performance.
I Introduction.
II 'Authenticity' in the arts.
III Three notions of historically authentic performance.
a/ Authenticity defined in terms of composer'sintentions.
b/ Authenticity defined in terms of the 'sound' ofthe work.
c/ Authenticity defined in terms of performance practice.
Chapter 5 Challenges to the Classical Paradigm in Music.
I Introduction: The classical paradigm in the performingarts.
II The scope of the paradigm in classical music.
III Jazz, rock, and the classical paradigm.
a/ Jazz.
b/ Rock.
IV Non-Western music and the classical paradigm.
Chapter 6 The Scope of the Classical Paradigm: Theatre, Dance,and Literature.
I Introduction: Berthold and Magda go to the theatre.
II Theatrical performances and performable works.
III Challenges to the classical paradigm in theatre.
IV Dance and the classical paradigm.
V The novel as performable work?
Part II: Performance as Art .
Chapter 7 Performances as Artworks.
I Introduction: spontaneous performance in the arts.
II The artistic status of performances outside the classicalparadigm.
III The artistic status of performances within the classicalparadigm.
Chapter 8 Elements of Performance I: Improvisation andRehearsal.
I Introduction.
II The nature of improvisation.
III Improvisation and performable works: three models.
a/ Improvisation on a theme.
b/ Improvisational composition.
c/ Pure improvisation.
IV Improvisation and recording.
V The place of rehearsal in the performing arts.
Chapter 9 Elements of Performance II: Audience andEmbodiment.
I Can there be artistic performance without an audience?
II Audience response.
III The embodied performer and the 'mirroring'receiver.
Chapter 10 'Performance Art' and the PerformingArts.
I Introduction.
II Some puzzling cases.
III What is 'performance art'?
IV When do works of 'performance art' involveartistic performances?
V Performance as art: a final case.
Bibliography.
Index .

Über Autor(innen)

David Davies is Associate Professor of Philosophy at McGill University. He is the author of Art as Performance (Blackwell, 2004), Aesthetics and Literature (2007), and the editor of The Thin Red Line (2008). He has published widely in the philosophy of art on topics relating to the nature of art, artistic value, literature, film, music, theatre, and the visual arts.