By James R. Hamilton
The paintings of Theater argues for the popularity of theatrical functionality as an paintings shape self reliant of dramatic writing. Identifies the weather that make a functionality a piece of artwork seems on the competing perspectives of the text-performance relationships a major and unique contribution to the aesthetics and philosophy of theater
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Extra resources for The Art of Theater (New Directions in Aesthetics)
Example text
82–4. ” 54 Deborah Saivetz, “An Event in Space: The Integration of Acting and Design in the Theatre of JoAnne Akalaitis,” TDR 42/2 (1998), 132–56. See also Nicole Potter, “Introduction,” in Movement for Actors, ed. Nicole Potter (New York: Allworth Press, 2002), p. ix. 55 Saivetz, “An Event in Space,” p. 135. 56 Noël Carroll, “Dance,” in Oxford Encyclopedia of Aesthetics, ed. Jerrold Levinson (Oxford: Oxford University Press, 2003), p. 583. This is the “provisional” and “impressionistic” definition with which Carroll begins the entry.
I show that that characterization is consistent with the ideas, set forth here, that appreciation of works of art is a matter of assessing achievement, against a background of relevant information, and that appreciation proceeds by answering the kinds of questions about details that explain what is going on in any given work and why that is what is going on. ” What leads many to think the literary or the two-text model of the text–performance relation must be correct is nothing more than an adherence to a set of performance practices that have dominated the theatrical tradition for the past several hundred years.
A similar fact is reported about two productions of Chekhov’s The Three Sisters, one involving the practices of standard Romantic theater and the other, directed by Stanislavski, less than a decade later. Sharon Marie Carnicke, “Stanislavki’s System: Pathways for the Actor,” in Twentieth Century Actor Training, ed. Alison Hodge (London and New York: Routledge, 2000), pp. 11–36. The Emergence of the Art of Theater 6 7 8 9 10 11 12 13 14 15 16 17 Not everyone notices this. Sue-Ellen Case, Feminism and Theatre (New York: Routledge, 1988), p.