Philosophy of the Performing Arts

112 performance and the classical paradigm in being true to the work in this sense. The principles also have some bite in their ...

theater, dance, and literature 113 for its correct performance? If so, then, unless Shakespeare endorsed both text-based and poi ...

114 performance and the classical paradigm If, in such cases, there is no imperative to be true to a performable work but a lite ...

theater, dance, and literature 115 are artworks in their own rights” (J. Hamilton 2007, 32). But, as we have already noted in di ...

116 performance and the classical paradigm there is also a director who has a particular vision of the kind of performance to be ...

theater, dance, and literature 117 on Brechtian devices might not preserve the point of Ibsen’s play. Hamilton, however, thinks ...

118 performance and the classical paradigm However, and this brings us to the second point, it is not clear that, even if we gra ...

theater, dance, and literature 119 the classical paradigm surely makes better sense of what is going on in Hedda-to-Hedda than t ...

120 performance and the classical paradigm If all theatrical performances are by their very nature unscriptable than, it is clai ...

theater, dance, and literature 121 the way in which we often talk about classical dance. We say that we saw a performance of Tch ...

122 performance and the classical paradigm interpretation of a role or dance. In performing a given dance work, the dancer(s)’s ...

theater, dance, and literature 123 the agent. Of course, we might say the same thing about any medium used in the arts. In paint ...

124 performance and the classical paradigm A notational theorist might, of course, simply deny that those purported performances ...

theater, dance, and literature 125 manifest in dance practice. Philosophers can perhaps do no more, here, than propose the class ...

126 performance and the classical paradigm from the scored work any features of performance that might be scored in different wa ...

theater, dance, and literature 127 in a misguided acceptance of the role that McFee assigns to notatability in defining the perf ...

128 performance and the classical paradigm depend not upon anything susceptible to notational or other written record, but upon ...

theater, dance, and literature 129 usually viewed as the performing arts – music, theater, and dance. Peter Kivy (2006), however ...

130 performance and the classical paradigm her actions by the anticipated eye or ear of an intended audience of those actions. I ...

theater, dance, and literature 131 What seems crucial to appreciating a novel is grasping a structure of mean- ings embodied in ...