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  1. added 2018-12-03
    "How came that widow in?" Entzogene Fluchtgeschichten auf der Bühne.Katrin Trüstedt - 2018 - In Bettine Menke & Juliane Vogel (eds.), Flucht und Szene. Berlin, Deutschland:
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  2. added 2018-12-03
    Alienation und Affirmation. Die Komödie der Negativität in Heiner Müllers Hamletmaschine.Katrin Trüstedt - 2018 - In Thomas Khurana, Francesca Raimondi, Dirk Setton, Dirk Quadflieg & Juliane Rebentisch (eds.), Negativität: Kunst - Recht - Politik. Berlin, Deutschland: pp. 65-79.
    Entgegen der Tendenz, Heiner Müller als Tragiker und seine Hamletmaschine als Tragödie zu deuten, will ich diese im Folgenden als eine spezifische Form von Komödie lesen – eine Komödie, die dabei gleichzeitig eine bestimmte Gegenwart der Tragödie in sich enthält.
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  3. added 2018-09-20
    The Philosophy of Theatre, Drama and Acting.Tom Stern - 2017 - Rowman & Littlefield International.
    A collection of new essays on the philosophy of theatre and the philosophy of drama, combining historical perspectives and new directions.
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  4. added 2018-09-20
    Review Article: Theatre and Philosophy. [REVIEW]Tom Stern - 2013 - European Journal of Philosophy 21 (1):158-167.
  5. added 2018-09-20
    Philosophy and Theatre: An Introduction.Tom Stern - 2013 - Routledge.
    The relationship between philosophy and theatre is a central theme in the writings of Plato and Aristotle and of dramatists from Aristophanes to Stoppard. Where Plato argued that playwrights and actors should be banished from the ideal city for their suspect imitations of reality, Aristotle argued that theatre, particularly tragedy, was vital for stimulating our emotions and helping us to understanding ourselves. Despite this rich history the study of philosophy and theatre has been largely overlooked in contemporary philosophy. This is (...)
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  6. added 2018-06-23
    A Theater of Ideas: Performance and Performativity in Kierkegaard’s Repetition.Martijn Boven - 2018 - In Eric Jozef Ziolkowski (ed.), Kierkegaard, Literature, and the Arts. Evanston, IL, USA: pp. 115-130.
    In this essay, I argue that Søren Kierkegaard’s oeuvre can be seen as a theater of ideas. This argument is developed in three steps. First, I will briefly introduce a theoretical framework for addressing the theatrical dimension of Kierkegaard’s works. This framework is based on a distinction between“performative writing strategies” and “categories of performativity.” As a second step, I will focus on Repetition: A Venture in Experimenting Psychology, by Constantin Constantius, one of the best examples of Kierkegaard’s innovative way of (...)
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  7. added 2018-05-30
    Censorship as Catalyst for Artistic Innovation.Aili Bresnahan - 2013 - Journal for Peace and Justice Studies 23 (2):98-116.
    One kind of government-supported censorship of the arts targets not the expressive content of any particular artwork but instead seeks to suppress the activity of a group of people based on some feature of the group’s human identity such as race, gender or class. Using examples from the history of the development of black music in the United States that followed from the legal oppression of slavery and from evidence of changes in the Punjabi theatre in Pakistan following state-sanctioned suppressions (...)
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  8. added 2018-03-05
    All the World’s a Stage. [REVIEW]Aili Bresnahan - 2015 - The Philosophers' Magazine 69:125-126.
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  9. added 2018-03-05
    Improvisation in the Arts.Aili Bresnahan - 2015 - Philosophy Compass 10 (9):573-582.
    This article focuses primarily on improvisation in the arts as discussed in philosophical aesthetics, supplemented with accounts of improvisational practice by arts theorists and educators. It begins with an overview of the term improvisation, first as it is used in general and then as it is used to describe particular products and practices in the individual arts. From here, questions and challenges that improvisation raises for the traditional work-of-art concept, the type-token distinction, and the appreciation and evaluation of the arts (...)
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  10. added 2018-03-05
    Censorship as Catalyst for Artistic Innovation.Aili Bresnahan - 2013 - Journal for Peace and Justice Studies 23 (2):98-116.
    One kind of government-supported censorship of the arts targets not the expressive content of any particular artwork but instead seeks to suppress the activity of a group of people based on some feature of the group’s human identity such as race, gender or class. Using examples from the history of the development of black music in the United States that followed from the legal oppression of slavery and from evidence of changes in the Punjabi theatre in Pakistan following state-sanctioned suppressions (...)
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  11. added 2018-02-02
    Zeami: Performance Notes.Zeami Motokiyo - 2008 - New York: Columbia University Press.
    Zeami (1363-1443), Japan's most celebrated actor and playwright, composed more than thirty of the finest plays of no drama. He also wrote a variety of texts on theater and performance that have, until now, been only partially available in English. Zeami: Performance Notes presents the full range of Zeami's critical thought on this subject, which focused on the aesthetic values of no and its antecedents, the techniques of playwriting, the place of allusion, the training of actors, the importance of patronage, (...)
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  12. added 2017-10-25
    Magic: The Art of the Impossible.Jason Leddington - 2017 - In David Goldblatt, Lee B. Brown & Stephanie Patridge (eds.), Aesthetics: A Reader in the Philosophy of the Arts. New York, USA: Routledge. pp. 373-379.
    An introduction to the philosophical study of theatrical magic.
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  13. added 2017-09-27
    The Appearance of Early Vernacular Plays: Forms, Functions, and the Future of Medieval Theater.Carol Symes - 2002 - Speculum 77 (3):778-831.
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  14. added 2017-08-29
    An Art Lawful as Eating: Cavell, King Lear und das Theater der Konvention.Katrin Trüstedt - 2009 - In Kathrin Thiele & Katrin Trüstedt (eds.), Happy Days. Lebenswissen nach Cavell. München: Fink Verlag. pp. 107-130.
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  15. added 2017-08-29
    The Tragedy of Law in Shakespearean Romance.Katrin Trüstedt - 2007 - Law and Humanities 2:167–82..
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  16. added 2017-06-30
    Postspektakuläres Theater.André Eiermann - 2009 - Bielefeld: Transcript.
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  17. added 2017-06-22
    Culture-Blind Shakespeare: Multiculturalism and Diversity.Ali Salami (ed.) - 2016 - New Castle: Cambridge Scholars Publishing.
    This collection of essays offers a panoramic plethora of responses to Shakespeare by both Western and Eastern critics, indicating that the Bard crosses all nationalities and deserves to be defined as a global writer, which is why he is easily appreciated, manipulated, translated, adapted, and interpreted by everyone everywhere. Divided into three parts, this volume deals with a wide range of issues on culture and multiculturalism, and hammers home the idea that the works of Shakespeare can be not only universally (...)
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  18. added 2017-06-22
    The Aesthetic Response: The Reader in Macbeth.Ali Salami - 2012 - Folia Linguistica Et Litteraria 12.
    This article seeks to explore the different strategies the Bard uses in order to evoke sympathy in the reader for Macbeth who is so persistent in the path of evil. What strategy does Shakespeare use in order to provoke such a deep emotional response from his readers? By using paradoxes in the play, the Bard creates a world of illusion, fear and wild imagination. The paradoxical world in Macbeth startles us into marvel and fear, challenges our commonly held opinions, and (...)
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  19. added 2017-06-22
    Scrutinizing the Art of Theater.Aaron Meskin - 2009 - Journal of Aesthetic Education 43 (3):pp. 51-66.
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  20. added 2016-11-26
    Performing the Middle Ages From 'Beowulf' to 'Othello'. [REVIEW]Ellen Mackay - 2009 - The Medieval Review 12.
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  21. added 2016-11-23
    The Theatre in the Middle Ages: Western European Stage Conditions, C. 800–1576. [REVIEW]Stanley Kahrl - 1980 - Speculum 55 (4):851-853.
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  22. added 2016-10-13
    Performance in Greek and Roman Theatre Ed. By George W. M. Harrison and Vayos Liapis.Rosa Andujar - 2014 - Classical World: A Quarterly Journal on Antiquity 108 (1):137-138.
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  23. added 2016-10-13
    Euripides and Menander.M. Andrewes - 1924 - Classical Quarterly 18 (1):1-10.
    Greek New Comedy, as we know it from references and fragmentary MSS., is the meeting-place of three confluent streams—comedy of manners, Aristophanic comedy, and tragedy. From Sicilian comedy, through Epicharmus at Syracuse and Crates and Pherecrates at Athens, it inherited certain stock stage figures, and a tradition of ‘invented’ plots and sententious speech. Old Comedy it resembled in its fun and informality and many stage conventions; and, indeed, the resemblance was so marked, in at least one of the later plays (...)
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  24. added 2016-06-17
    God No Longer Amuses.Ramona Fotiade - unknown
    Book-review of the new critical edition of Benjamin Fondane's Théâtre complet and his philosophical writings, La Conscience malheureuse.
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  25. added 2016-06-17
    Fondane-Artaud: Une Pensée au-Delà des Catégories.R. Fotiade - 1998 - Europe (827).
    A comparative analysis of Fondane's and Artaud's conceptions of the theatre and of their engagement with the cinema during the 1920s and 1930s.
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  26. added 2015-08-31
    Some Ontology of Interactive Art.Dominic Preston - 2014 - Philosophy and Technology 27 (2):267-278.
    Lopes (2010) offers an account of computer art, which he argues is a new art form. Part of what makes computer art distinctive, according to Lopes, is its interactivity, a quality found in few non-computer artworks. Given the rise in prominence of such artworks, most notably videogames, they are surely worthy of philosophical inquiry. I believe their ontology and properties are particularly worthy of study, as an understanding of these will prove crucial to critical understanding and evaluation of the works (...)
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  27. added 2015-02-20
    A Phenomenological Analysis of the Actor's Perceptions During the Creative Act.Shelley McKnight Russell-Parks - 1989 - Dissertation, Florida State University
    The subject of this study is the experience of acting. The separation of artistic act and artwork results here not in a psychoanalytical analysis of the artwork via artist, but rather in a focus on the artistic act from the perspective of the actor. This dissertation is a theoretical work, not an empirical study. The research is drawn from a broad base of theoretical and practical texts on acting, a set of interviews with professional and student actors on the subject (...)
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  28. added 2014-12-30
    El naixement de la tragèdia o hel·lenisme i pessimisme: Seguit de correspondència amb l'autor.Joan Ferrarons Llagostera & Mosè Cometta - 2014
    «El naixement de la tragèdia» és el primer llibre de Friedrich Nietzsche i constitueix una de les contribucions més importants a l’estudi de l’art tràgica. L’admiració de l’autor per Schopenhauer i Wagner impregna la seva crítica a la concepció imperant sobre els grecs, considerats fins aleshores un poble alegre i serè. Segons el filòsof, però, els grecs necessitaven la tragèdia per a superar el pessimisme i el nihilisme en què estaven sumits. En aquestes pàgines, la tragèdia neix entre l’ebrietat primigènia (...)
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  29. added 2014-11-14
    The Paradox of Onstage Emotion.Michelle Saint - 2014 - British Journal of Aesthetics 54 (3):357-369.
    I develop a paradox regarding the emotional experiences of theatrical actors, which I call the ‘paradox of onstage emotion’. Many actors tell us that they experience genuine emotions while performing fictional plays: they grow angry, sad, joyful, etc., as befits their characters’ circumstances. Yet, they are not their characters and are not actually in those characters’ circumstances. Intuitively, it would seem those actors cannot have emotions befitting their characters’ circumstances rather than their own. Thus, we face a paradox. After setting (...)
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  30. added 2014-08-06
    Should Philosophers Become Playwrights?Spyridon George Couvalis - 1986 - Inquiry: An Interdisciplinary Journal of Philosophy 29 (1-4):451-457.
    Feyerabend has recently argued that the best way to deal with philosophical problems is through drama rather than through intellectual debate. This paper criticises his view and corrects it.
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  31. added 2014-08-03
    Two Loves I Have: Of Comfort and Despair in Shakespearean Genre.Claire Elizabeth McEachern - 2014 - British Journal of Aesthetics 54 (2):191-211.
    A consideration of the differences between Shakespearean comedy and tragedy in light of the historically particular inflection of dramatic irony in the English Reformation. The essay compares classical and humanist understandings of literary response and then proposes that we consider that response as a function of knowledge with respect to (and hence feelings about) a protagonist and his plight. The essay compares the structures of suspense in Sophocles’ and Seneca’s Oedipus plays, and then goes on to examine the ways in (...)
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  32. added 2014-03-23
    A Counter-Example to Theatrical Type Theories.John Dilworth - 2003 - Philosophia 31 (1-2):165-170.
    Plays, symphonies and other works in the performing arts are generally regarded, ontologically speaking, as being types, with individual performances of those works being regarded as tokens of those types. But I show that there is a logical feature of type theory which makes it impossible for such a theory to satisfactorily explain a 'double performance' case that I present: one in which a single play performance is actually a performance of two different plays. Hence type theories fail, both for (...)
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  33. added 2014-03-16
    Tragedy and Reparation.Elisa Galgut - 2009 - In Pedro Alexis Tabensky (ed.), The Positive Function of Evil. Palgrave-Macmillan.
    The Kleinian psychoanalyst Hanna Segal argues for the reparative nature of art, and especially of the genre of classical tragedy. According to Kleinian theory, healthy psychological development requires that early infantile aggressive and destructive emotions are worked through; such “working through” is necessary for the development of conscience, for feelings of empathy, as well as for cognitive development. It is also a necessary condition for creative activity. Segal examines the roots of the impulse to create by looking specifically at the (...)
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  34. added 2014-03-04
    Black Rain: The Apocalyptic Aesthetic and the Spectator's Ethical Challenge in (Israeli) Theater.Zahava Caspi - 2013 - Substance 42 (2):141-158.
    One feature that classical apocalyptic writings commonly share is their eschatological dimension, their "sense of an ending"1—the end of the world, of time, of humanity. But whereas traditional apocalyptic texts were for the most part utopian, their tales of destruction followed by narratives of redemption, modern secular apocalyptic literature is largely dystopian, ending in pure devastation. According to some scholars, the very arrival of modernity, beginning with Cartesian philosophy and its inherent doubt, was apocalyptic in nature. In the twentieth century, (...)
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  35. added 2014-02-12
    Aristotle.Angela Curran - 2012 - In Alessandro Giovannelli (ed.), Aesthetics: The Key Thinkers. pp. 21-33.
  36. added 2012-12-01
    Theatre Translation as Collaboration: A Case in Point in British Contemporary Drama.Andrea Peghinelli - 2012 - Journal for Communication and Culture 2 (1):20-30.
    Theatre translation is usually seen as a more elaborate dimension of literary translation because the text being translated is considered to be just one of the elements of theatre discourse. When translating a play, the translator should always adapt for performance the text he or she is recreating and be aware that a performer will deliver the lines. The translator, then, must take into account both the pragmatic and the semantic expressiveness of the word and remember that they are always (...)
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  37. added 2012-08-15
    Narrative, Emotion, and Insight. [REVIEW]Rafe Mcgregor - 2012 - Journal of Aesthetics and Art Criticism 70 (3):319-321.
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  38. added 2012-05-03
    Reading Drama.Tzachi Zamir - 2012 - Journal of Aesthetics and Art Criticism 70 (2):179-192.
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  39. added 2011-11-15
    Convention, Audience, and Narrative: Which Play is the Thing?Leslie A. Howe - 2011 - Journal of the Philosophy of Sport 38 (2):135-148.
    This paper argues against the conception of sport as theatre. Theatre and sport share the characteristic that play is set in a conventionally-defined hypothetical reality, but they differ fundamentally in the relative importance of audience and the narrative point of view. Both present potential for participants for development of selfhood through play and its personal possibilities. But sport is not essentially tied to audience as is theatre. Moreover, conceptualising sport as a form of theatre valorises the spectator’s narrative as normative (...)
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  40. added 2011-09-11
    Hegel's Theory of Tragedy.Stephen Houlgate - 2007 - In Hegel and the Arts. Northwestern University Press.
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  41. added 2010-07-01
    The Fictionality of Plays.John Dilworth - 2002 - Journal of Aesthetics and Art Criticism 60 (3):263–273.
    The category of works of fiction is a very broad and heterogeneous one. I do have a general thesis in mind about such works, namely, that they themselves are fictional, in much the same way as are the fictional events or entities that they are about. But a defense of such a broad thesis would provide an intractably complex topic for an introductory essay, so I shall here confine myself to a presentation of a similar thesis for narrative theatrical works (...)
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  42. added 2010-06-30
    Theater, Representation, Types and Interpretation.John Dilworth - 2002 - American Philosophical Quarterly 39 (2):197-209.
    In the performing arts, including music, theater, dance and so on, theoretical issues both about artworks and about performances of them must be dealt with, so that their theoretical analysis is inherently more complex and troublesome than that of nonperforming arts such as painting or film, in which primarily only artworks need to be discussed. Thus it is especially desirable in the case of the performing arts to look for defensible broad theoretical simplifications or generalizations that could serve to unify (...)
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  43. added 2009-04-19
    The Aesthetics of the Russian Revolutionary Theatre 1917–21.Vahan D. Barooshian - 1975 - British Journal of Aesthetics 15 (2):99-117.