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[null,"1.","Record Nr.",null,"UNINA9910788199603321"]
[null,null,"Autore",null,"White Gareth <1968->"]
[null,null,"Titolo",null,"Applied theatre : aesthetics / / Gareth White"]
[null,null,"Pubbl/distr/stampa",null,"London, England : , : Bloomsbury Methuen Drama, , [2015]"]
[{"$nulls":4},"©2015"]
[null,null,"ISBN",null,"1-4725-0759-2"]
[{"$nulls":4},"1-4725-1177-8"]
[null,null,"Descrizione fisica",null,"1 online resource (321 p.)"]
[null,null,"Collana",null,"Applied Theatre"]
[null,null,"Classificazione",null,"PER011020"]
[null,null,"Disciplina",null,"792.01"]
[null,null,"Soggetti",null,"Theater - Aesthetics"]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Note generali","Description based upon print version of record."]
[null,null,null,"Nota di bibliografia","Includes bibliographical references and index."]
[null,null,"Nota di contenuto",null,"Title 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"]
[{"$nulls":4},"Chapter 2 Aesthetic Autonomy and Heteronomous AestheticsAesthetic autonomy; Genius, participation and The Radical Aesthetic; Dependent beauty; Heteronomous aesthetics; Berleant and The Aesthetic Field; Shusterman: Updating pragmatism; Johnson and aesthetic understanding; Conclusion; Part 2; Chapter 3 Dancing With Difference: Moving Towards a New Aesthetics; Beauty reflected, recollected and reconceived; Moving beyond moving: StevensonThompson; Fevered Sleep and 'Social Works': On Ageing and Men and Girls Dance; Conclusion"]
[{"$nulls":4},"Chapter 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 "]
[{"$nulls":4},"looking; Refugees; International interveners; European artists; Tourists; Conclusion"]
[{"$nulls":4},"Chapter 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"]
[{"$nulls":4},"IntroductionAesthetic 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"]
[null,null,null,"Sommario/riassunto","Applied 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"]