By David Davies

This ebook offers an obtainable but refined advent to the numerous philosophical matters in regards to the appearing arts.

  • Presents the numerous philosophical matters in regards to the appearing arts in an obtainable type, assuming no earlier knowledge
  • Provides a serious evaluate and a accomplished framework for puzzling over the acting arts

  • Examines the idea that classical track offers the simplest version for brooding about creative functionality around the appearing arts

  • Explores ways that the ‘classical paradigm’ may be prolonged to different musical genres, to theatre, and to dance

  • Applies the considering on acting arts to the problem of ‘performance art’

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Additional resources for Philosophy of the Performing Arts

Sample text

The properties that Levinson cites in differentiating between an actual work and its doppelgänger are of two kinds: aesthetic properties – properties that the work is properly experienced as having in abstraction from comparisons with other works; and artistic properties – properties that relate the work more explicitly to its art-historical context. The aesthetic properties in question pertain to what a work is taken to express or how it is appropriate for us to respond to it. The artistic properties pertain to the ways in which a work should be appreciated in light of other works – its originality, for example, or its deliberate allusions to the works of other composers.

Where something fully qualifies in this sense, we may term it a work-instance of X. The latter is a technical term to be understood in the manner just specified. Where this is the case, we have what can be termed a “multiple” art form. Classical music, film, literature, and cast sculpture are treated as multiple art forms in this sense. Not all art forms are treated as multiple, however. It is our practice to require, for the proper appreciation of paintings and works of carved sculpture, for example, that one experientially engage with a unique object.

9. ” I have not claimed that they must also intend that their audience take an interest in the manner whereby this content is articulated for its own sake. We may think such an interest is necessary for a properly artistic appreciation of that performance – this is arguably a “dogma” of modernism – but that is a different matter. 10. indd 21 1/31/2011 3:54:30 PM 22 performance and the classical paradigm artworks by providing information germane to the appreciation of those works – for example, a talk given by a curator about a painting in a gallery.

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