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Informationen zum Autor David Davies is Associate Professor of Philosophy at McGill University. He is the author of Art as Performance (Blackwell, 2004), Aesthetics and Literature (2007), and the editor of The Thin Red Line (2008). He has published widely in the philosophy of art on topics relating to the nature of art, artistic value, literature, film, music, theatre, and the visual arts. Klappentext This book provides an accessible yet sophisticated introduction to the significant philosophical issues concerning the performing arts.* Presents the significant philosophical issues concerning the performing arts in an accessible style, assuming no prior knowledge* Provides a critical overview and a comprehensive framework for thinking about the performing arts* Examines the assumption that classical music provides the best model for thinking about artistic performance across the performing arts* Explores ways in which the 'classical paradigm' might be extended to other musical genres, to theatre, and to dance* Applies the thinking on performing arts to the issue of 'performance art' Zusammenfassung The Performing Arts provides an accessible, yet sophisticated, introduction to the philosophical issues concerning the artistic performance. Inhaltsverzeichnis Preface and Acknowledgments viii Part One Performance and the Classical Paradigm 1 1 The Nature of Artistic Performance 3 1 Introduction 3 2 What is a Performance? 4 3 Institutional Theories of Artistic Performance 7 4 Aesthetic Theories of Artistic Performance 10 5 Artistic Performance and Artistic Regard 14 6 Overview 17 2 The Classical Paradigm I: The Nature of the Performable Work 23 1 Introduction: Berthold and Magda Go to the Symphony 23 2 The Multiple Nature of Performable Works 24 3 Performable Works as Types 29 4 Varieties of Type Theories: Sonicism, Instrumentalism, and Contextualism 32 5 Other Theories of the Performable Work 38 3 The Classical Paradigm II: Appreciating Performable Works in Performance 51 1 Introduction: Talking Appreciatively about Performable Works 51 2 Can Performable Works Share Artistic Properties with Their Performances? 53 3 The Goodman Argument 57 4 Answering the Goodman Argument 62 4 Authenticity in Musical Performance 71 1 Introduction 71 2 Authenticity in the Arts 72 3 Three Notions of Historically Authentic Performance 74 5 Challenges to the Classical Paradigm in Music 87 1 Introduction: The Classical Paradigm in the Performing Arts 87 2 The Scope of the Paradigm in Classical Music 90 3 Jazz, Rock, and the Classical Paradigm 94 4 Non-Western Music and the Classical Paradigm 101 6 The Scope of the Classical Paradigm: Theater, Dance, and Literature 103 1 Introduction: Berthold and Magda Go to the Theater 103 2 Theatrical Performances and Performable Works 105 3 Challenges to the Classical Paradigm in Theater 112 4 Dance and the Classical Paradigm 120 5 The Novel as Performable Work? 128 Part Two Performance as Art 133 7 Performances as Artworks 135 1 Introduction: Spontaneous Performance in the Arts 135 2 The Artistic Status of Performances Outside the Classical Paradigm 138 3 The Artistic Status of Performances Within the Classical Paradigm 143 8 Elements of Performance I: Improvisation and Rehearsal 149 1 Introduction 149 2 The Nature of Improvisation 150 3 Improvisation and Performable Works: Three Models 154 4 Improvisation and Recording 160 5 The Place of Rehearsal in the Performing Arts 164 9 Elements of Performance II: Audience and Embodiment 172
