The art of theater /
Saved in:
| Author / Creator: | Hamilton, James R. |
|---|---|
| Imprint: | Malden, MA ; Oxford : Blackwell Pub., 2007. |
| Description: | xv, 226 p. ; 24 cm. |
| Language: | English |
| Series: | New directions in aesthetics ; 4 |
| Subject: | |
| Format: | Print Book |
| URL for this record: | http://pi.lib.uchicago.edu/1001/cat/bib/6485244 |
Table of Contents:
- 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 Influences: 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
- 3.2. Three General Facts about Theatrical Performances and the Constraints they Impose on any Successful Account of Theatrical Performances
- 4. 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
- 5.1. Minimal General Success Conditions for Basic Theatrical Understanding
- 5.2. 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
- 6.1. The "Feature-Salience" Model of Spectator Convergence on the Same Characteristics
- 6.2. 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, "Character Power," and the Materiality of the Means of Performance
- 6.8. The Feature-Salience Model and Explaining How Basic Theatrical Understanding Occurs
- 7. 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
- 7.7. Theatrical Performance as a Fully Independent Practice
- Part III. The Art of Theatrical Performance
- 8. Deeper Theatrical Understanding
- 8.1. General Success Conditions for Deeper Theatrical Understanding
- 8.2. More Precise Success Conditions: Two Kinds of Deeper Understanding
- 8.3. Some Puzzles about the Relation Between Understanding What is Performed and Understanding How it is Performed
- 8.4. Deeper Theatrical Understanding and Full Appreciation of a Theatrical Performance
- 9. What Performers Do
- 9.1. What Performers Do and What Audiences Can Know
- 9.2. The Features of Performers and Choices That Performers Make
- 9.3. Theatrical Conventions as Sequences of Features having Specific "Weight"
- 9.4. What is Involved in Reference to Theatrical Styles
- 9.5. More about Styles, as Produced and as Grasped
- 9.6. Grasp of Theatrical Style and Deepe