Philosophy of the Performing Arts

performance ii: audience and embodiment 173 We need to see what reasons support these intuitively surprising conclu- sions, and ...

174 performance as art agents to the audience. This, in part, is what is lacking in sporting events, where the energies and atte ...

performance ii: audience and embodiment 175 Thus far, however, we have seen nothing to demonstrate that, in being directed towar ...

176 performance as art whose work remains sadly unperformed: “Performers of my work must pro- duce the following sound sequence. ...

performance ii: audience and embodiment 177 to be explained by reference to the agent’s expectations as to their reception by an ...

178 performance as art Dancers, for example, perform whereas painters do not because, while each is guided in their actions by e ...

performance ii: audience and embodiment 179 the audience changes. In Chapter 6, we noted David Osipovich’s remarks to this effec ...

180 performance as art provide a less than optimal way of conveying the distinctive aesthetic fea- tures of the former. In this ...

performance ii: audience and embodiment 181 that audiences will observe them. Performers are also disposed to modify what they d ...

182 performance as art predisposition to attend to the performance. Berthold would obviously say that the performers in the prov ...

performance ii: audience and embodiment 183 In according emotional engagement a central role in audience response to theater, Wo ...

184 performance as art a probable consequence of his or her fatally flawed judgment. This presup- poses a measure of intellectua ...

performance ii: audience and embodiment 185 figure most commonly associated with this kind of challenge is the German playwright ...

186 performance as art inevitability of existing social structures. While Brecht’s writings provide some support for these readi ...

performance ii: audience and embodiment 187 to bear. For us to be moved to the intended state of outrage therefore seems to requ ...

188 performance as art emotions in ways that are themselves instructive, so that in arriving at an appropriate emotional attitud ...

performance ii: audience and embodiment 189 and distanciation techniques in a Brechtian production, the reflections to which she ...

190 performance as art Jerrold Levinson’s contention that some of the expressive qualities of musical works depend upon the kind ...

performance ii: audience and embodiment 191 for example, writes that “the human body, as the instrument of commu- nication, has ...

192 performance as art that motivate thought and action. Relatedly, Richard Shusterman character- izes what he terms “body consc ...