LEADER 01493nam--2200445---450- 001 990000664320203316 005 20050816115544.0 010 $a88-7778-061-4 035 $a0066432 035 $aUSA010066432 035 $a(ALEPH)000066432USA01 035 $a0066432 100 $a20011004d1998----km-y0itay0103----ba 101 $aita 102 $aIT 105 $a||||||||001yy 200 1 $a<> trionfo del sentimentalismo$eun capriccio drammatico$fJohann Wolfgang Goethe$g[introduzione e cura di Massimo Venturi Ferriolo]$g[versione e postfazione di Ettore Brissa] 210 $aRoma$cSemar$d1998 215 $aXXV, 109 p.$d17 cm 225 2 $aVisioni$v13 312 $aDer Triumph der Empfindsamkeit 410 $12001$aVisioni$v13 454 $12001$aDer Triumph der Empfindsamkeit$935350 676 $a832.6 700 1$aGOETHE,$bJohann Wolfgang : von$0151776 702 1$aVENTURI FERRIOLO,$bMassimo 702 1$aBRISSA,$bEttore 801 0$aIT$bsalbc$gISBD 912 $a990000664320203316 951 $aVII.2.A. 723(II t A 834)$b144236 LM$cII t A 951 $aVII.2.A. 723a(II t A 834 BIS)$b144264 LM$vII t A 951 $aVII.2.A. 723b(II t A 834 A)$b144265 LM$cII t A 959 $aBK 969 $aUMA 979 $aPATTY$b90$c20011004$lUSA01$h0920 979 $c20020403$lUSA01$h1716 979 $aPATRY$b90$c20040406$lUSA01$h1646 979 $aCOPAT7$b90$c20050816$lUSA01$h1155 996 $aDer Triumph der Empfindsamkeit$935350 997 $aUNISA LEADER 04997nam 2200625 450 001 9910788199603321 005 20230807204627.0 010 $a1-4725-0759-2 010 $a1-4725-1177-8 035 $a(CKB)2670000000587108 035 $a(EBL)1894999 035 $a(SSID)ssj0001382302 035 $a(PQKBManifestationID)12586473 035 $a(PQKBTitleCode)TC0001382302 035 $a(PQKBWorkID)11459462 035 $a(PQKB)10412390 035 $a(MiAaPQ)EBC1894999 035 $a(MiAaPQ)EBC6162462 035 $a(EXLCZ)992670000000587108 100 $a20200717d2015 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aApplied theatre $eaesthetics /$fGareth White 210 1$aLondon, England :$cBloomsbury Methuen Drama,$d[2015] 210 4$dİ2015 215 $a1 online resource (321 p.) 225 0 $aApplied Theatre 300 $aDescription based upon print version of record. 311 $a1-322-49755-9 311 $a1-4725-1355-X 320 $aIncludes bibliographical references and index. 327 $aTitle Page; Copyright Page; Contents; List of Figures; Notes on Contributors; Introduction; Applied theatre, aesthetics and the aesthetic; Terminological drift and clarity; Beauty and engagement; An applied theatre aesthetic?; The chapters; Part 1; Chapter 1 Aesthetics and the Aesthetic; What do we mean when we talk about 'Aesthetics'?; Philosophical aesthetics; Immanuel Kant and the emergence of aesthetics; The critique of aesthetics and progressive alternatives; Dewey's pragmatist aesthetics; The aesthetics of participation; Interlude: Eye Queue Hear 327 $aChapter 2 Aesthetic Autonomy and Heteronomous AestheticsAesthetic autonomy; Genius, participation and The Radical Aesthetic; Dependent beauty; Heteronomous aesthetics; Berleant and The Aesthetic Field; Shusterman: Updating pragmatism; Johnson and aesthetic understanding; Conclusion; Part 2; Chapter 3 Dancing With Difference: Moving Towards a New Aesthetics; Beauty reflected, recollected and reconceived; Moving beyond moving: StevensonThompson; Fevered Sleep and 'Social Works': On Ageing and Men and Girls Dance; Conclusion 327 $aChapter 4 Revolutionary Beauty out of Homophobic Hate: A Reflection on the Performance I Stand Corrected Applied politricks; Applied lackaesthetics; Beauty and the senses ; Beauty and the sacred; Beautiful women, ugly feelings; Thinking beauty; Beautifully black; Beautiful moves; Looking forward; Chapter 5 Competing International Players and their Aesthetic Imperatives: The Future of Internationalized Applied Theatre Practice?; Introduction; Aesthetics; Ethnoscape - a way of looking; Refugees; International interveners; European artists; Tourists; Conclusion 327 $aChapter 6 Aesthetic Play: Between Performance and JusticeIntroduction; Gacaca as a performative; Performing justice and reconciliation - Art's sublimation (2005); Gacaca as ikinimicu (2010); Conclusion; Chapter 7 The Political Imagination and Contemporary Theatre for Youth; Introduction; Political aesthetics; Rough Theatre today; Responding to young people's lives; Imagination, popular culture, Rough Theatre; Acquiescence: The Rock Eisteddfod Challenge; Popular culture as cultural pedagogy; Chapter 8 The Aesthetics of Becoming; Applied Theatre and the Quest for Cultural Certitude 327 $aIntroductionAesthetic decisions in applied theatre settings; 'Baby Bird' drama: An example of genre shifts; Quadripartite thinking/quadripartite response; Aesthetic variables within the art form of drama; Conclusion; Epilogue; Notes; Introduction; Chapter 1; Interlude; Chapter 2; Chapter 3; Chapter 4; Chapter 5; Chapter 6; Chapter 7; Chapter 8; Epilogue; References; Introduction; Chapter 1; Chapter 2; Chapter 3; Chapter 4; Chapter 5; Chapter 6; Chapter 7; Chapter 8; Epilogue; Index 330 $aApplied Theatre: Aesthetics re-examines how the idea of 'the aesthetic' is relevant to performance in social settings. The disinterestedness that traditional aesthetics claims as a key characteristic of art makes little sense when making performances with ordinary people, rooted in their lives and communities, and with personal and social change as its aim. Yet practitioners of applied arts know that their work is not reducible to social work, therapy or education. Reconciling the simultaneous autonomy and heteronomy of art is the problem of aesthetics in applied arts. Gareth White's introdu 410 0$aApplied Theatre 606 $aTheater$xAesthetics 615 0$aTheater$xAesthetics. 676 $a792.01 686 $aPER011020$2bisacsh 700 $aWhite$b Gareth$f1968-$01557305 701 $aBalfour$b Michael$0169994 701 $aPreston$b Sheila$01557306 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910788199603321 996 $aApplied theatre$93820706 997 $aUNINA