{"product_id":"philosophy-of-the-performing-arts-isbn-9781405188036","title":"Philosophy of the Performing Arts","description":"PHILOSOPHY OF THE PERFORMING ARTS \u003cp\u003e“\u003ci\u003eDavid Davies’s Philosophy of the Performing\u003c\/i\u003e Arts is long-awaited. Not since Paul Thom’s \u003ci\u003eFor an Audience\u003c\/i\u003e has a book in the Anglo-American philosophical tradition focused so clearly, exclusively, informatively, and fairly on all the performing arts. I will use this book in my classes.” \u003c\/p\u003e\u003cp\u003e\u003ci\u003eJames Hamilton, Kansas State University, author of The Art of Theater\u003c\/i\u003e \u003c\/p\u003e\u003cp\u003e“In this outstanding philosophical study, David Davies subjects the different, conflicting literatures characterizing works, performances, and their relationships to critical review en route to developing his own integrated theory. Covering classical music to jazz, Shakespeare to Brecht, dance to performance art, this is essential reading for anyone interested in the performing arts.” \u003c\/p\u003e\u003cp\u003e\u003ci\u003eStephen Davies, University of Auckland, author of The Philosophy of Art\u003c\/i\u003e \u003c\/p\u003e\u003cp\u003ePhilosophical inquiry concerning the performing arts has tended to focus on music – specifically classical music – which is assumed to provide a model for understanding the performing arts as a whole. This book engages with this belief and critically explores how the “classical paradigm” might be extended to other musical genres, to theater, and to dance. \u003c\/p\u003e\u003cp\u003eTaking in key components of artistic performance – improvisation, rehearsal, the role of the audience, the embodied nature of the artistic performer – the book examines similarities and differences between the performing art forms and presents the key philosophical issues that they bring into play. These reflections are then applied to the disputed issue of those contemporary artworks usually classified as “performance art.” Assuming no prior knowledge of the subject matter, this book provides an accessible, yet sophisticated, introduction to the field and a comprehensive framework for thinking about the performing arts. \u003c\/p\u003e\u003cp\u003ePreface and Acknowledgments viii\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart One Performance and the Classical Paradigm \u003c\/b\u003e\u003cb\u003e1\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e1 The Nature of Artistic Performance 3\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e1 Introduction 3\u003c\/p\u003e \u003cp\u003e2 What is a Performance? 4\u003c\/p\u003e \u003cp\u003e3 Institutional Theories of Artistic Performance 7\u003c\/p\u003e \u003cp\u003e4 Aesthetic Theories of Artistic Performance 10\u003c\/p\u003e \u003cp\u003e5 Artistic Performance and Artistic Regard 14\u003c\/p\u003e \u003cp\u003e6 Overview 17\u003c\/p\u003e \u003cp\u003e\u003cb\u003e2 The Classical Paradigm I: The Nature of the Performable Work 23\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e1 Introduction: Berthold and Magda Go to the Symphony 23\u003c\/p\u003e \u003cp\u003e2 The Multiple Nature of Performable Works 24\u003c\/p\u003e \u003cp\u003e3 Performable Works as Types 29\u003c\/p\u003e \u003cp\u003e4 Varieties of Type Theories: Sonicism, Instrumentalism, and Contextualism 32\u003c\/p\u003e \u003cp\u003e5 Other Theories of the Performable Work 38\u003c\/p\u003e \u003cp\u003e\u003cb\u003e3 The Classical Paradigm II: Appreciating Performable Works in Performance 51\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e1 Introduction: Talking Appreciatively about Performable Works 51\u003c\/p\u003e \u003cp\u003e2 Can Performable Works Share Artistic Properties with Their Performances? 53\u003c\/p\u003e \u003cp\u003e3 The Goodman Argument 57\u003c\/p\u003e \u003cp\u003e4 Answering the Goodman Argument 62\u003c\/p\u003e \u003cp\u003e\u003cb\u003e4 Authenticity in Musical Performance 71\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e1 Introduction 71\u003c\/p\u003e \u003cp\u003e2 Authenticity in the Arts 72\u003c\/p\u003e \u003cp\u003e3 Three Notions of Historically Authentic Performance 74\u003c\/p\u003e \u003cp\u003e\u003cb\u003e5 Challenges to the Classical Paradigm in Music 87\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e1 Introduction: The Classical Paradigm in the Performing Arts 87\u003c\/p\u003e \u003cp\u003e2 The Scope of the Paradigm in Classical Music 90\u003c\/p\u003e \u003cp\u003e3 Jazz, Rock, and the Classical Paradigm 94\u003c\/p\u003e \u003cp\u003e4 Non-Western Music and the Classical Paradigm 101\u003c\/p\u003e \u003cp\u003e\u003cb\u003e6 The Scope of the Classical Paradigm: Theater, Dance, and Literature 103\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e1 Introduction: Berthold and Magda Go to the Theater 103\u003c\/p\u003e \u003cp\u003e2 Theatrical Performances and Performable Works 105\u003c\/p\u003e \u003cp\u003e3 Challenges to the Classical Paradigm in Theater 112\u003c\/p\u003e \u003cp\u003e4 Dance and the Classical Paradigm 120\u003c\/p\u003e \u003cp\u003e5 The Novel as Performable Work? 128\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart Two Performance as Art \u003c\/b\u003e\u003cb\u003e133\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e7 Performances as Artworks 135\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e1 Introduction: Spontaneous Performance in the Arts 135\u003c\/p\u003e \u003cp\u003e2 The Artistic Status of Performances Outside the Classical Paradigm 138\u003c\/p\u003e \u003cp\u003e3 The Artistic Status of Performances Within the Classical Paradigm 143\u003c\/p\u003e \u003cp\u003e\u003cb\u003e8 Elements of Performance I: Improvisation and Rehearsal 149\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e1 Introduction 149\u003c\/p\u003e \u003cp\u003e2 The Nature of Improvisation 150\u003c\/p\u003e \u003cp\u003e3 Improvisation and Performable Works: Three Models 154\u003c\/p\u003e \u003cp\u003e4 Improvisation and Recording 160\u003c\/p\u003e \u003cp\u003e5 The Place of Rehearsal in the Performing Arts 164\u003c\/p\u003e \u003cp\u003e\u003cb\u003e9 Elements of Performance II: Audience and Embodiment 172\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e1 Can There Be Artistic Performance Without an Audience? 172\u003c\/p\u003e \u003cp\u003e2 Audience Response 181\u003c\/p\u003e \u003cp\u003e3 The Embodied Performer and the Mirroring Receiver 189\u003c\/p\u003e \u003cp\u003e\u003cb\u003e10 Performance Art and the Performing Arts 200\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e1 Introduction 200\u003c\/p\u003e \u003cp\u003e2 Some Puzzling Cases 201\u003c\/p\u003e \u003cp\u003e3 What is Performance Art? 206\u003c\/p\u003e \u003cp\u003e4 When Do Works of Performance Art Involve Artistic Performances? 209\u003c\/p\u003e \u003cp\u003e5 Performance as Art: A Final Case 216\u003c\/p\u003e \u003cp\u003eReferences 219\u003c\/p\u003e \u003cp\u003eIndex 226\u003c\/p\u003e  \u003cp\u003e“This is a remarkable and remarkably useful book, and for much the same reason … The other result is that professionals in the philosophy of art will have to rise to the challenge. Davies has set the bar very high.”  (\u003ci\u003eOxford Journals Clippings\u003c\/i\u003e, 4 May 2012)\u003c\/p\u003e \"Philosophy of the Performing Arts is a careful and detailed study in analytic philosophical aesthetics ... Summing Up: Highly recommended. Graduate students through professional\/practitioners.\" (Choice, 1 January 2012) \u003cp\u003e\u003cb\u003eDavid Davies \u003c\/b\u003eis Associate Professor of Philosophy at McGill University. He is the author of Art as Performance (Blackwell, 2004), \u003ci\u003eAesthetics and Literature\u003c\/i\u003e (2007), and the editor of \u003ci\u003eThe Thin Red Line\u003c\/i\u003e (2008). He has published widely in the philosophy of art on topics relating to the nature of art, artistic value, literature, film, music, theater, and the visual arts.\u003c\/p\u003e  \u003cp\u003e“\u003ci\u003eDavid Davies’s Philosophy of the Performing\u003c\/i\u003e Arts is long-awaited. Not since Paul Thom’s \u003ci\u003eFor an Audience\u003c\/i\u003e has a book in the Anglo-American philosophical tradition focused so clearly, exclusively, informatively, and fairly on all the performing arts. I will use this book in my classes.”\u003c\/p\u003e \u003cp\u003e\u003ci\u003eJames Hamilton, Kansas State University, author of The Art of Theater\u003c\/i\u003e \u003c\/p\u003e\u003cp\u003e“In this outstanding philosophical study, David Davies subjects the different, conflicting literatures characterizing works, performances, and their relationships to critical review en route to developing his own integrated theory. Covering classical music to jazz, Shakespeare to Brecht, dance to performance art, this is essential reading for anyone interested in the performing arts.” \u003c\/p\u003e\u003cp\u003e\u003ci\u003eStephen Davies, University of Auckland, author of The Philosophy of Art\u003c\/i\u003e \u003c\/p\u003e\u003cp\u003ePhilosophical inquiry concerning the performing arts has tended to focus on music – specifically classical music – which is assumed to provide a model for understanding the performing arts as a whole. This book engages with this belief and critically explores how the “classical paradigm” might be extended to other musical genres, to theater, and to dance. \u003c\/p\u003e\u003cp\u003eTaking in key components of artistic performance – improvisation, rehearsal, the role of the audience, the embodied nature of the artistic performer – the book examines similarities and differences between the performing art forms and presents the key philosophical issues that they bring into play. These reflections are then applied to the disputed issue of those contemporary artworks usually classified as “performance art.” Assuming no prior knowledge of the subject matter, this book provides an accessible, yet sophisticated, introduction to the field and a comprehensive framework for thinking about the performing arts.   \"David Davies' \u003ci\u003ePhilosophy of the Performing Arts\u003c\/i\u003e is a long-awaited book. For not since Paul Thom's \u003ci\u003eFor an Audience\u003c\/i\u003e has a book in the Anglo-American philosophical tradition focused so clearly, exclusively, informatively and fairly on all of the performing arts. I will use David Davies' The Performing Arts in my classes.\"\u003cbr\u003e —\u003cb\u003eJames Hamilton\u003c\/b\u003e, Kansas State University, author of \u003ci\u003eThe Art of Theater\u003c\/i\u003e  \u003c\/p\u003e\u003cp\u003e\"In this outstanding philosophical study, David Davies subjects the different, conflicting literatures characterizing works, performances, and their relationships to critical review en route to developing his own integrated theory. Covering classical music to jazz, Shakespeare to Brecht, dance to performance art, this is essential reading for anyone interested in the performing arts.\"\u003cbr\u003e —\u003cb\u003eStephen Davies\u003c\/b\u003e, University of Auckland, author of \u003ci\u003eThe Philosophy of Art\u003c\/i\u003e\u003c\/p\u003e","brand":"Wiley-Blackwell","offers":[{"title":"Default Title","offer_id":47989782282469,"sku":"NP9781405188036","price":46.95,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9781405188036.jpg?v=1761785446","url":"https:\/\/k12savings.com\/products\/philosophy-of-the-performing-arts-isbn-9781405188036","provider":"K12savings","version":"1.0","type":"link"}