The art of theater
著者
書誌事項
The art of theater
(New directions in aesthetics, 4)
Blackwell, 2007
大学図書館所蔵 全2件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes bibliographical references and index
内容説明・目次
内容説明
The Art of Theater argues for the recognition of theatrical performance as an art form independent of dramatic writing.
Identifies the elements that make a performance a work of art
Looks at the competing views of the text-performance relationships
An important and original contribution to the aesthetics and philosophy of theater
目次
Prologue. Part I: The Basics:.
1. The Emergence of the Art of Theater: Background and History.
1.1 The Backstory: 1850s to 1950s.
1.2 The Decisive Influences: Brecht, Artaud, Grotowski.
1.3 The Decisive Years: 1961 to 1985.
1.4 The Final Threads: Absorption of New Practices into the Profession and the Academy.
2. Theatrical Performance is an Independent Form of Art.
2.1 Theatrical Performance as Radically Independent of Literature.
2.2 Theatrical Performance as a Form of Art.
3. Methods and Constraints.
3.1 Idealized Cases that Help Focus on Features Needing Analysis.
3.2 Three General Facts about Theatrical Performances and the Constraints they Impose on any Successful Account of Theatrical Performances.
4. Theatrical Enactment: The Guiding Intuitions.
4.1 Enactment: Something Spectators and Performers do.
4.2 The Crucial Concept: "Attending to Another".
4.3 What it is to "Occasion" Responses.
4.4 Audience Responses: Willing Suspension of Disbelief, Acquired Beliefs, or Acquired Abilities?.
4.5 Relativizing the Account by Narrowing its Scope to Narrative Performances.
Part II: The Independence of Theatrical Performance:.
5. Basic Theatrical Understanding.
5.1 Minimal General Success Conditions for Basic Theatrical Understanding.
5.2 Physical and Affective Responses of Audiences as Non-Discursive Evidence of Understanding.
5.3 The Success Conditions for Basic Theatrical Understanding Met by Moment-to-Moment Apprehension of Performances.
5.4 "Immediate Objects," "Developed Objects," and "Cogency".
5.5 Objects of Understanding having Complex Structures.
5.6 Generalizing Beyond Plays.
5.7 The Problem of "Cognitive Uniformity".
6. The mechanics of basic theatrical understanding.
6.1 The "Feature-Salience" Model of Spectator Convergence on the Same Characteristics.
6.2 What it is to Respond to a Feature as Salient for Some Characteristics or a Set of Facts.
6.3 A Thin Common Knowledge Requirement.
6.4 A Plausibly Thickened Common Knowledge Requirement.
6.5 The Feature-Salience Model, "Reader-Response Theory," and "Intentionalism".
6.6 Generalizing the Salience Mechanism to Encompass Non-Narrative Performances.
6.7 Some Important Benefits of the Feature-Salience Model: Double-Focus, Slippage, "Character Power," and the Materiality of the Means of Performance.
6.8 The Feature-Salience Model and Explaining How Basic Theatrical Understanding Occurs.
7. What Audiences See.
7.1 Identifying Characters, Events, and Other Objects in Narrative Performances.
7.2 Re-identification of Characters and Other Objects in Narrative Performances.
7.3 The Special Nature of Theatrical (Uses of) Space: Performances and Performance Space.
7.4 Cross-Performance Re-identification.
7.5 Identifying and Re-identifying Objects in Non-Narrative Performances.
7.6 Added Benefits of the Demonstrative and Recognition-Based Approach to Identification and Re-identification.
7.7 Theatrical Performance as a Fully Independent Practice.
Part III: The Art of Theatrical Performance:.
8. Deeper Theatrical Understanding.
8.1 General Success Conditions for Deeper Theatrical Understanding.
8.2 More Precise Success Conditions: Two Kinds of Deeper Understanding.
8.3 Some Puzzles about the Relation Between Understanding What is Performed and Understanding How it is Performed.
8.4 Deeper Theatrical Understanding and Full Appreciation of a Theatrical Performance.
9. What Performers Do.
9.1 What Performers Do and What Audiences Can Know.
9.2 The Features of Performers and Choices That Performers Make.
9.3 Theatrical Conventions as Sequences of Features having Specific "Weight".
9.4 What is Involved in Reference to Theatrical Styles.
9.5 More about Styles, as Produced and as Grasped.
9.6 Grasp of Theatrical Style and Deeper Theatrical Understanding.
10. Interpretive Grasp of Theatrical Performances.
10.1 Success Conditions for Interpreting What is Performed and Interpreting How it is Performed.
10.2 Eschewing Theories of "Work Meaning".
10.3 Interpretation and Significance.
10.4 Interpreting Performers.
11. Full Appreciation of a Theatrical Performance.
11.1 The Case of the Culturally Lethargic Company.
11.2 Broader Implications of the CLC Problem.
11.3 The "Imputationalist" Solution.
11.4 Solving the CLC Problem Without Resorting to Imputationalism.
11.5 Full Appreciation of a Theatrical Performance and the Detection of Theatrical Failures.
Epilogue.
A. The Idea of a Tradition and Tradition-Defining Constraints.
B. Constraints Derived from Origins in Written Texts.
C. What Really Constrains Performances in the Text-Based Tradition.
D. The Myth of "Of".
Glossary.
Index
「Nielsen BookData」 より