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  1. Emmanuel Alloa (2014). The Theatre of the Virtual. How to Stage Potentialities with Merleau-Ponty. In Laura Cull & Alice Lagaay (eds.), Encounters in Performance Philosophy. PalgraveMacmillan 147-170.
  2. Emmanuel Alloa (2014). The Theatre of the Virtual. How to Stage Potentialities with Merleau-Ponty. In Laura Cull & Alice Lagaay (eds.), Encounters in Performance Philosophy. PalgraveMacmillan 147-170.
  3. Jonathan Owen Clark (2012). Dance and Subtraction: Notes on Alain Badiou's Inaesthetics. Dance Research Journal 42 (03):50-64.
    In an essay entirely devoted to the subject of dance in Alain Badiou's Handbook of Inaesthetics [Petit manuel d'inesthétique (Badiou 2005b)], we find the following contentious statement: “Dance is not an art, because it is the sign of the possibility of art as inscribed in the body” (69). At first glance, this statement seems strangely familiar to the reader versed in writing about dance, particularly philosophical writing. “Dance is not an art”: Badiou critiques Mallarmé as not realizing this as the (...)
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  4. S. G. Couvalis (1988). Feyerabend, Ionesco, and the Philosophy of the Drama. Critical Philosophy 4:51-66.
  5. Clara Donoso, APROXIMACIONES TEÓRICAS SOBRE LA PRESENCIA DE LA DANZA- TEATRO EN AMERICA DEL SUR.
    Abstract: The American people strongly developed making music, songs , poetry , stories and theatrical dances. Currently , South America , is made up of diverse knowledge of ethnic and mestizo peoples who qualify with a plurality of cultures and artistic expressions themselves ; including our dance-theater that has had over time on the mestizo becoming, Our avatars , rites , hobbies and living in these territories ; humanizing and closer and closer to art and daily life.
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  6. Gene Fendt (2009). Sweet Use: Genre and Performance of the Merchant of Venice. Philosophy and Literature 33 (2):pp. 280-295.
    This paper answers the questions ‘what is the Merchant of Venice?’ and ‘how may it accomplish its purpose?’ I argue that the usual treatments of this play are inadequate and show how the play is a comedy through which the passions appropriate for the good human being are engendered. What is raised and ridiculed are our own temptations to lesser joys and less sweet uses mimetically roused in us by the action and characters of the play. What is whetted but (...)
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  7. Cristian Hainic (2011). The Nuts and Bolts of Arts Management: A Discussion on a Recent Handbook in the Field. [REVIEW] Journal for Communication and Culture 1 (2):167-170.
    Brindle, Meg and Constance DeVereaux, eds. The Arts Management Handbook: New Directions for Students and Practitioners. Armonk, New York: M.E. Sharpe, 2011.
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  8. Christian Jung (2012). Wagner und Hanslick. Kurze Geschichte einer Feindschaft. Österreichische Musikzeitschrift 67 (6):14-21.
    The controversy between Richard Wagner and his critic Eduard Hanslick is well known, but rarely looked at in detail. It is mostly believed that Hanslick was unable to see Wagner's genius, stuck deeply in an antiquated aesthetical world. By reassessing Wagner's and Hanslick's letters and publications it can be seen, however, that Hanslick's detailed criticism (and also appreciation) was much more objective and less spiteful than is often assumed.
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  9. Susan Kozel (2007). Closer: Performance, Technologies, Phenomenology. MIT Press.
    Professional dancer and multi-media artist Susan Kozel deploys close readings of late Merleau-Ponty and of Gilles Deleuze in analyses of performance works that involve technological innovations.
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  10. Tobin Nellhaus (2010). Theatre, Communication, Critical Realism. Palgrave Macmillan.
    From oral culture, through the advent of literacy, to the introduction of printing, to the development of electronic media, communication structures have radically altered culture in profound ways. As the first book to take a critical realist approach to culture, Theatre, Communication, Critical Realism examines theatre and its history through the interaction of society’s structures, agents, and discourses. Tobin Nellhaus shows that communication structure—a culture’s use and development of speech, handwriting, printing, and electronics—explains much about why, when, and how theatre (...)
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  11. Sibila Petlevski (2014). Beyond Identity: The Dynamic Self at the Intersection of Performance Philosophy and the Philosophy of Science. Interdisciplinary Description of Complex Systems - INDECS 12 (3):187-209.
    In this paper we advocate the methodological feedback loop in the study of the dynamical self at the crossroads of performance philosophy, (artistic) performance, and the philosophy of science. We point to the importance of the dynamics of methodology transfer between arts and sciences and the “interactive continuum” proposed by Newman & Benz in 1998. In the first part of this paper we give a comparative review of the research context relevant for our field of study, and we explain our (...)
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  12. Jacobus Pontanus (ed.) (2009). Soldier or Scholar: Stratocels or War. Apprentice House.
    A late 16th century Jesuit play about a student who wants to drop out of school and enroll in the military.
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  13. Jacobus Pontanus, S. J., Paul Richard Blum & Thomas McCreight (2009). Soldier or Scholar: Stratocles or War. Apprendice House.
    ISBN-13: 978-1934074480
    Plot Summary from the book:
    "An aristocratic young man, fed up with his studies, contemplates military service. His teacher is unable by any reasoning to call him back him from the path he has embarked upon. The young man enlists another youth who commits himself to the journey, dressed in military garb, and he happens upon two deserting soldiers, unsightly and ill-used both in their dress and in their hygiene. Both young men are so moved by the deserters’ (...)
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