01805nam 2200373 n 450 99639280920331620200824121827.0(CKB)4940000000111204(EEBO)2240962219(UnM)99868322e(UnM)99868322(EXLCZ)99494000000011120419940616d1650 uy |engurbn||||a|bb|Councel of states-policy[electronic resource] or the rule of government, set forth. Shewing the nature of our presen [sic] government. In a dialogue between a country man and a scholler; as also the various regiments of nations, kingdomes, and Common-weales, and a lively description of the said governments, with the grounds of their rise, continuance, and fall. viz. Monarchicall. Aristocraticall. Oligarchicall. Democraticall, &c. Whereunto is added the new engagement, to be taken throughout the Common-wealth, as touching t[h]e lawfullnes of it. /By Robert Spry, of Plymouth GentLondon Printed for Iohn Hancock, at the first shop in Popes head Ally, next to Corn-hill1650[4], 55, [5] pAnnotation on Thomason copy: "Jan. 20. 1649".Reproduction of the original in the British Library.eebo-0018Political scienceEarly works to 1800Great BritainPolitics and government1649-1660Early works to 1800Great BritainHistoryCommonwealth and Protectorate, 1649-1660Early works to 1800Political scienceSpry Robert1016357Cu-RivESCu-RivESCStRLINWaOLNBOOK996392809203316Councel of states-policy2377736UNISA04841nam 2200601 a 450 99620183300331620230721030409.01-281-06905-197866110690560-470-69087-90-470-76610-7(CKB)1000000000398349(EBL)320042(OCoLC)476116333(SSID)ssj0000105955(PQKBManifestationID)11133687(PQKBTitleCode)TC0000105955(PQKBWorkID)10107895(PQKB)11473333(MiAaPQ)EBC320042(EXLCZ)99100000000039834920060809d2007 uy 0engur|n|---|||||txtccrThe art of theater[electronic resource] /James R. HamiltonMalden, MA ;Oxford Blackwell Pub.20071 online resource (244 p.)New directions in aesthetics ;4Description based upon print version of record.1-4051-1353-7 Includes bibliographical references and index.Contents; 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 in . uences: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 analysis3.2 Three general facts about theatrical performances and the constraints they impose on any successful account of theatrical performances4 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 Understanding5.1 Minimal general success conditions for basic theatrical understanding5.2 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 Understanding6.1 The "feature-salience " model of spectator convergence on the same characteristics6.2 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,"performer power," "character power," and t6.8 The feature-salience model and explaining how basic theatrical understanding occurs7 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-identification7.7 Theatrical performance as a fully independent practiceThe 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 theaterNew directions in aesthetics ;4.TheaterPhilosophyTheaterPhilosophy.792.01Hamilton James R141649MiAaPQMiAaPQMiAaPQBOOK996201833003316The art of theater1950664UNISA