This category needs an editor. We encourage you to help if you are qualified.
Volunteer, or read more about what this involves.
Related categories

55 found
Order:
1 — 50 / 55
  1. The Spring of Action: In Butō Improvisation.Carla Bagnoli - forthcoming - In Routledge Handbook Philosophy of Improvisation in the Arts. London: Routledge.
    This chapter discusses butō dance as an example of improvisation that challenges not only the extant philosophical definitions of improvisation, but also some fundamental presumptions about self-government and agency that are current in action theory. In the first part of the chapter, I identify the main features of butō improvisation, with regard to the nature of its basic movement, and the kind of subjectivity implicated in its generation. I then raise some questions regarding the philosophical characterization of this form of (...)
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  2. Externalization on Stage: The Exil Ensemble’s Hamletmaschine.Katrin Trüstedt - 2020 - In Martin Jörg Schäfer & Karin Nissen-Rizvani (eds.), TogetherText: Prozessual erzeugte Texte im Gegenwartstheater. Berlin, Germany: pp. 142–155.
  3. Review of Siddhartha Biswas's Theatre Theory and Performance: A Critical Interrogation. [REVIEW]Subhasis Chattopadhyay - 2019 - Prabuddha Bharata or Awakened India 124 (9):672-4.
    Biswas's book is a panoramic treatment of contemporary world theatre. The book under review will help both the neophyte, as also a scholar to negotiate ancient dramaturgy and more recent theatre. Biswas's eye for details is also remarked in this review. The review shows how Biswas, as it were, has written a manifesto of protest in this book.
    Remove from this list   Direct download  
     
    Export citation  
     
    Bookmark  
  4. La sociedad del espectáculo de Guy Debord: 50 años después.José Ramón Fabelo Corzo - 2019 - In José Ramón Fabelo Corzo & Mayra Sánchez Medina (eds.), Coordenadas epistemológicas para una estética en construcción. Puebla, Pue., México: pp. 259-274.
    En 1967, el francés Guy Debord escribía un resonante texto, La sociedad del espectáculo, en el que nos ofrece una penetrante y aguda reflexión sobre la sociedad de consumo —cuya experiencia directa vive en la Francia de la posguerra—, donde florece la economía de la abundancia, la industria del ocio, la generalización de los medios de comunicación audiovisual y la propagación del llamado american way of life. Anclado fuertemente en las ideas de Marx sobre la alienación y el fetichismo mercantil, (...)
    Remove from this list   Direct download (4 more)  
    Translate
     
     
    Export citation  
     
    Bookmark  
  5. GJESDAL, KRISTIN. Ibsen's Hedda Gabler —Philosophical Perspectives. Oxford University Press, 2018, 272 Pp., $29.95, Paper. [REVIEW]Lior Levy - 2019 - Journal of Aesthetics and Art Criticism 77 (2):215-219.
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  6. Alienation and Affirmation: The Comedy of Heiner Müller’s Hamletmaschine.Katrin Trüstedt - 2019 - Brecht Yearbook 44:102-121.
    Against the tendency to regard Müller as a tragedian and his Hamletmaschine as a tragedy, I will read his play as an experiment on the possibility of comedic theater after Brecht. Hamletmaschine can thus be understood as an attempt to affirm the possibilities of theater and its own forms of estrangement without abstracting from tragedy, alienation, and negativity. The play contains three such models internally connecting alienation and affirmation: while “Hamlet” in his commitment to the negativity of a lost tragedy (...)
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  7. 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 (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    Bookmark   1 citation  
  8. 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.
    Remove from this list  
    Translate
     
     
    Export citation  
     
    Bookmark  
  9. "How came that widow in?" Entzogene Fluchtgeschichten auf der Bühne.Katrin Trüstedt - 2018 - In Bettine Menke & Juliane Vogel (eds.), Flucht und Szene. Berlin, Deutschland:
    Remove from this list  
    Translate
     
     
    Export citation  
     
    Bookmark  
  10. Analytic Philosophy and the World of the Play.Michael Y. Bennett - 2017 - London: Routledge.
    Theatrical characters’ dual existence on stage and in text presents a unique, challenging case for the analytical philosopher. -/- Analytic Philosophy and the World of the Play re-examines the ontological status of theatre and its fictional objects through the "possible worlds" thesis, arguing that theatre is not a mirror of our world, but a re-creation of it. Taking a fresh look at theatre’s key elements, including the hotly contested relationships between character and actor; onstage and offstage "worlds"; and the play-text (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    Bookmark  
  11. 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.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  12. 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.
    Remove from this list   Direct download  
     
    Export citation  
     
    Bookmark  
  13. Teatro y Estética del Oprimido. Homenaje a Augusto Boal.José Ramón Fabelo Corzo & Ana Lucero López Troncoso (eds.) - 2016 - Puebla, Pue., México: Colección La Fuente, BUAP.
    Este libro inaugura la serie Homenaje de la Colección La Fuente. Con él se busca reconocer, de manera particular, al pensador, dramaturgo y director brasileño Augusto Boal (1931-2009), creador del teatro y la estética del oprimido, genuina aportación cultural latinoamericana que mucho tiene que ver con ese particular lugar de enunciación que es Nuestra América y sus siempre actuales expectativas emancipadoras. El libro fue precedido y nutrido por un Coloquio que en mayo de 2014 reunió a importantes especialistas y seguidores (...)
    Remove from this list   Direct download (4 more)  
    Translate
     
     
    Export citation  
     
    Bookmark  
  14. ¿Qué hacer con el legado teórico-práctico de Augusto Boal? (A modo de Presentación).José Ramón Fabelo Corzo & Ana Lucero López Troncoso - 2016 - In José Ramón Fabelo Corzo & Ana Lucero López Troncoso (eds.), Teatro y Estética del Oprimido. Homenaje a Augusto Boal. Puebla, Pue., México: pp. 11-21.
    El texto sirve como capítulo introductorio y de presentación del libro Teatro y Estética del Oprimido. Homenaje a Augusto Boal. Se reflexiona y evalúa críticamente sobre los diferentes "usos" que se hacen del legado teórico-práctico de Augusto Boal, lo que se hace y lo que, ajuicio de los autores, se debe hacer con él. Se describe además las fuentes y el contenido capitular del libro en cuestión.
    Remove from this list   Direct download (4 more)  
    Translate
     
     
    Export citation  
     
    Bookmark  
  15. 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 (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    Bookmark  
  16. 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 (...)
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    Bookmark   5 citations  
  17. All the World’s a Stage. [REVIEW]Aili Bresnahan - 2015 - The Philosophers' Magazine 69:125-126.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  18. Review of Acts: Theater, Philosophy, and the Performing Self by Tzachi Zamir. [REVIEW]Nick Riggle - 2015 - Notre Dame Philosophical Reviews 1 (1):1.
    Recent work at the intersection of philosophy of action and aesthetics has unearthed rich territory. We are deepening our appreciation for and understanding of the role of pretense, imagination, and narrative (to name a few) in human action and moral psychology. Tzachi Zamir’s book investigates a relatively unexplored locus of overlap between philosophy of action and aesthetics via a multifaceted and conceptually rich study of the art, ethics, and moral psychology of acting — topics that have received scant philosophical attention...
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  19. 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.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  20. 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 (...)
    Remove from this list   Direct download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  21. 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 (...)
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  22. 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 (...)
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark   5 citations  
  23. 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 (...)
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  24. 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 (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  25. 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, (...)
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    Bookmark  
  26. 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 (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    Bookmark   1 citation  
  27. Review Article: Theatre and Philosophy. [REVIEW]Tom Stern - 2013 - European Journal of Philosophy 21 (1):158-167.
  28. Theatre and Philosophy The Art of Theater, by James R. Hamilton. Oxford: Blackwell, 2007, Xv + 226 Pp. ISBN 978‐1‐4051‐1353‐3 Hb £21.99 The Necessity of Theater, by Paul Woodruff. Oxford: Oxford University Press, 2008, Xiii + 257 Pp. ISBN 978‐0‐19‐533200‐1 Hb £17.99; ISBN 978‐0‐19‐539480‐1 Pb £10.99 The Drama of Ideas, by Martin Puchner. Oxford: Oxford University Press, 2010, Xii + 254 Pp. ISBN 978‐0‐19‐973032‐2 Hb £19.99 Philosophers and Thespians: Thinking Performance, by Freddie Rokem. Stanford, CA: Stanford University Press, 2010, Xi + 227 Pp. ISBN 978‐0‐8047‐6349‐3 Hb $60.00; ISBN 978‐0‐8047‐6350‐9 Pb $21.95. [REVIEW]Tom Stern - 2013 - European Journal of Philosophy 21 (1):158-167.
    Remove from this list   Direct download (7 more)  
     
    Export citation  
     
    Bookmark  
  29. Aristotle.Angela Curran - 2012 - In Alessandro Giovannelli (ed.), Aesthetics: The Key Thinkers. pp. 21-33.
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  30. Narrative, Emotion, and Insight. [REVIEW]Rafe Mcgregor - 2012 - Journal of Aesthetics and Art Criticism 70 (3):319-321.
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  31. 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 (...)
    Remove from this list  
    Translate
     
     
    Export citation  
     
    Bookmark   1 citation  
  32. 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 (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    Bookmark  
  33. Reading Drama.Tzachi Zamir - 2012 - Journal of Aesthetics and Art Criticism 70 (2):179-192.
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  34. 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 (...)
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    Bookmark   2 citations  
  35. Postspektakuläres Theater.André Eiermann - 2009 - Bielefeld: Transcript.
    Remove from this list  
    Translate
     
     
    Export citation  
     
    Bookmark  
  36. 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 (...)
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  37. Performing the Middle Ages From 'Beowulf' to 'Othello'. [REVIEW]Ellen Mackay - 2009 - The Medieval Review 12.
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  38. Scrutinizing the Art of Theater.Aaron Meskin - 2009 - Journal of Aesthetic Education 43 (3):pp. 51-66.
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    Bookmark  
  39. 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.
    Remove from this list  
    Translate
     
     
    Export citation  
     
    Bookmark   6 citations  
  40. Spectres of Duty: The Politics of Silence in Ibsen’s Ghosts.Dimitris Vardoulakis - 2009 - Orbis Litterarum 64 (1):50–74.
    The article examines the concept of duty with reference to Ibsen's play "Ghosts." It offers a brief genealogy of duty while linking the concept of duty to a deconstructive approach.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  41. 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, (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    Bookmark  
  42. Hegel's Theory of Tragedy.Stephen Houlgate - 2007 - In Hegel and the Arts. Northwestern University Press.
    Remove from this list  
     
    Export citation  
     
    Bookmark  
  43. The Tragedy of Law in Shakespearean Romance.Katrin Trüstedt - 2007 - Law and Humanities 2:167–82..
    Remove from this list  
     
    Export citation  
     
    Bookmark   5 citations  
  44. Perception, Action and Identification in the Theatre.Bence Nanay - 2006 - In Daniel Krasner (ed.), Staging Philosophy. Ann Arbor: Michigan University Press.
    My endeavor in this paper is to examine the ways in which exactly the general structure of perception is modified in the case of the reception of theatre performances. First, perception in general is examined and it is argued that a basic characteristic of perception is that it is sometimes interdependent with action. After the analysis of perception in general, I turn to the special case of the perception of a theatre performance (or, theatre-perception, for short) and examine the role (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    Bookmark  
  45. 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 (...)
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    Bookmark  
  46. 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 (...)
    Remove from this list   Direct download (7 more)  
     
    Export citation  
     
    Bookmark   4 citations  
  47. 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 (...)
    Remove from this list   Direct download (3 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  48. The Appearance of Early Vernacular Plays: Forms, Functions, and the Future of Medieval Theater.Carol Symes - 2002 - Speculum 77 (3):778-831.
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  49. 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.
    Remove from this list   Direct download  
     
    Export citation  
     
    Bookmark  
  50. 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 (...)
    Remove from this list  
     
    Export citation  
     
    Bookmark  
1 — 50 / 55