LEADER 04958nam 2200661 a 450 001 9911019166503321 005 20200520144314.0 010 $a9786611069056 010 $a9781281069054 010 $a1281069051 010 $a9780470690871 010 $a0470690879 010 $a9780470766101 010 $a0470766107 035 $a(CKB)1000000000398349 035 $a(EBL)320042 035 $a(OCoLC)476116333 035 $a(SSID)ssj0000105955 035 $a(PQKBManifestationID)11133687 035 $a(PQKBTitleCode)TC0000105955 035 $a(PQKBWorkID)10107895 035 $a(PQKB)11473333 035 $a(MiAaPQ)EBC320042 035 $a(Perlego)2777202 035 $a(EXLCZ)991000000000398349 100 $a20060809d2007 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 14$aThe art of theater /$fJames R. Hamilton 210 $aMalden, MA ;$aOxford $cBlackwell Pub.$d2007 215 $a1 online resource (244 p.) 225 1 $aNew directions in aesthetics ;$v4 300 $aDescription based upon print version of record. 311 08$a9781405113533 311 08$a1405113537 320 $aIncludes bibliographical references and index. 327 $aContents; 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 analysis 327 $a3.2 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 Understanding 327 $a5.1 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 Understanding 327 $a6.1 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 t 327 $a6.8 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-identification 327 $a7.7 Theatrical performance as a fully independent practice 330 $aThe Art of Theater argues for the recognition of theatrical performance as an art form independent of dramatic writing. Identifies the elements that make a performance a work of art Looks at the competing views of the text-performance relationships An important and original contribution to the aesthetics and philosophy of theater 410 0$aNew directions in aesthetics ;$v4. 606 $aTheater$xPhilosophy 615 0$aTheater$xPhilosophy. 676 $a792.01 700 $aHamilton$b James R$0141649 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9911019166503321 996 $aThe art of theater$91950664 997 $aUNINA