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Informationen zum Autor James R. Hamilton is a member of the Philosophy Department at Kansas State University. His research is in aesthetics, focusing on theater. He has published articles in the British Journal of Aesthetics , the Journal of Aesthetics and Art Criticism , and the Journal of Dramatic Theory and Criticism , has entries in the Oxford Encyclopedia of Aesthetics and the Routledge Companion to Aesthetics , and has received NEH and Big XII Fellowships. Klappentext Are theatrical performances merely interpretations of works of dramatic literature? Theatrical performances change according to a number of influences, from audience and cast, to time and place. Our actual experiences in viewing theatrical performances reflect this truth: we understand that when we see a play, we are seeing a particular director and cast's vision and artistry. The Art of Theater argues that performance is, and has always been, an art form in its own right, distinct from the literary texts that it uses. It is an affirmation of how we actually encounter theater, and James R. Hamilton gives us the tools to identify the fundamental elements that are needed to grasp the independence of theatrical performance. Examining the competing views of text-performance and performer-audience relationships, The Art of Theater applies a philosophical approach to the understanding, interpretation, and appreciation of theatrical art. Zusammenfassung The Art of Theater argues that performance is! and has always been! an art form in its own right! distinct from the literary texts that it uses. It is an affirmation of how we actually encounter theater! and James R. Inhaltsverzeichnis 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 Require...
