Play Philosophy And Performance
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| Author | : Malcolm MacLean |
| Publisher | : Routledge |
| Total Pages | : 259 |
| Release | : 2021-02-15 |
| Genre | : Education |
| ISBN | : 1000345858 |
Play, Philosophy and Performance is a cutting-edge collection of essays exploring the philosophy of play. It showcases the most innovative, interdisciplinary work in the rapidly developing field of Play Studies. How we play, and the relation of play to the human condition, is becoming increasingly recognised as a field of scholarly inquiry as well as a significant element of social practice, public policy and socio-cultural understanding. Drawing on approaches ranging through morality and ethics, language and the nature of reality, aesthetics, digital culture and gaming, and written by an international group of emerging and established scholars, this book examines how our performance at play describes, shapes and influences our performance as human beings. This is essential reading for anybody with an interest in leisure, education, childhood, gaming, the arts, playwork or many branches of philosophical enquiry.
| Author | : Emily Ryall |
| Publisher | : Routledge |
| Total Pages | : 218 |
| Release | : 2013-04-12 |
| Genre | : Education |
| ISBN | : 1136269916 |
Play is a vital component of the social life and well-being of both children and adults. This book examines the concept of play and considers a variety of the related philosophical issues. It also includes meta-analyses from a range of philosophers and theorists, as well as an exploration of some key applied ethical considerations. The main objective of The Philosophy of Play is to provide a richer understanding of the concept and nature of play and its relation to human life and values, and to build disciplinary and paradigmatic bridges between scholars of philosophy and scholars of play. Including specific chapters dedicated to children and play, and exploring the work of key thinkers such as Plato, Sartre, Wittgenstein, Gadamer, Deleuze and Nietzsche, this book is invaluable reading for any advanced student, researcher or practitioner with an interest in education, playwork, leisure studies, applied ethics or the philosophy of sport.
| Author | : Robert P. Crease |
| Publisher | : |
| Total Pages | : 228 |
| Release | : 1993-12-22 |
| Genre | : Business & Economics |
| ISBN | : |
This novel approach to philosophy of science asserts that experimentation is at the center of science and explains the experimental process through an analogy with theatrical performance. Attacking positivist and Kantian varieties of philosophy of science in which experimentation takes a backseat to theory, Robert R. Crease develops his conception of the centrality of experimentation via an argumentative analogy with theatrical performances. To establish his program, Crease draws on three nonpositivist strands of recent philosophy: Husserl's phenomenology to clarify the notion of invariance, Dewey's pragmatism to make needed revisions in our idea of productive inquiry, and Heidegger's hermeneutics to formulate a concept of interpretation appropriate to the cultural and historical "lifeworld" in which members of a scientific community think and act.
| Author | : Laura Cull Ó Maoilearca |
| Publisher | : Routledge |
| Total Pages | : 464 |
| Release | : 2020-07-08 |
| Genre | : Performing Arts |
| ISBN | : 1000056899 |
The Routledge Companion to Performance Philosophy is a volume of especially commissioned critical essays, conversations, collaborative, creative and performative writing mapping the key contexts, debates, methods, discourses and practices in this developing field. Firstly, the collection offers new insights on the fundamental question of how thinking happens: where, when, how and by whom philosophy is performed. Secondly, it provides a plurality of new accounts of performance and performativity – as the production of ideas, bodies and knowledges – in the arts and beyond. Comprising texts written by international artists, philosophers and scholars from multiple disciplines, the essays engage with questions of how performance thinks and how thought is performed in a wide range of philosophies and performances, from the ancient to the contemporary. Concepts and practices from diverse geographical regions and cultural traditions are analysed to draw conclusions about how performance operates across art, philosophy and everyday life. The collection both contributes to and critiques the philosophy of music, dance, theatre and performance, exploring the idea of a philosophy from the arts. It is crucial reading material for those interested in the hierarchy of the relationship between philosophy and the arts, advancing debates on philosophical method, and the relation between Performance and Philosophy more broadly.
| Author | : Michael Y. Bennett |
| Publisher | : Taylor & Francis |
| Total Pages | : 172 |
| Release | : 2017-07-14 |
| Genre | : Art |
| ISBN | : 1315294729 |
Cover -- Title -- Copyright -- Dedication -- Contents -- Foreword -- Acknowledgments -- Introduction: Theatre and the mirror of nature -- Part I Exposing the problem and proposing a solution -- 1 Theatrical names and reference: Dialectical-synecdochic objects and "re-creation"--2 The world of the play: Theatre as "re-creation"--Part II Applying the (proposed) solution to the problems -- 3 "Liveness"? The presumption of dramatic and theatrical "liveness" -- 4 Boundedness of (fictional) theatre to our (real) world: Actor and audience -- 5 Identity across "possible worlds": "The world beyond" the play -- Conclusions -- #1 The purpose of playing: Why go to the theatre? -- #2 Where the world of theatre ends: Performance art -- #3 Make-believe -- Afterword -- Bibliography -- Index
| Author | : David Krasner |
| Publisher | : University of Michigan Press |
| Total Pages | : 343 |
| Release | : 2010-02-11 |
| Genre | : Drama |
| ISBN | : 0472025147 |
The fifteen original essays in Staging Philosophy make useful connections between the discipline of philosophy and the fields of theater and performance and use these insights to develop new theories about theater. Each of the contributors—leading scholars in the fields of performance and philosophy—breaks new ground, presents new arguments, and offers new theories that will pave the way for future scholarship. Staging Philosophy raises issues of critical importance by providing case studies of various philosophical movements and schools of thought, including aesthetics, analytic philosophy, phenomenology, deconstruction, critical realism, and cognitive science. The essays, which are organized into three sections—history and method, presence, and reception—take up fundamental issues such as spectatorship, empathy, ethics, theater as literature, and the essence of live performance. While some essays challenge assertions made by critics and historians of theater and performance, others analyze the assumptions of manifestos that prescribe how practitioners should go about creating texts and performances. The first book to bridge the disciplines of theater and philosophy, Staging Philosophy will provoke, stimulate, engage, and ultimately bring theater to the foreground of intellectual inquiry while it inspires further philosophical investigation into theater and performance. David Krasner is Associate Professor of Theater Studies, African American Studies, and English at Yale University. His books include A Beautiful Pageant: African American Theatre, Drama, and Performance in the Harlem Renaissance, 1910-1920 and Renaissance, Parody, and Double Consciousness in African American Theatre, 1895-1910. He is co-editor of the series Theater: Theory/Text/Performance. David Z. Saltz is Professor of Theatre Studies and Head of the Department of Theatre and Film Studies at the University of Georgia. He is coeditor of Theater Journal and is the principal investigator of the innovative Virtual Vaudeville project at the University of Georgia.
| Author | : C. Thi Nguyen |
| Publisher | : |
| Total Pages | : 253 |
| Release | : 2020 |
| Genre | : Games & Activities |
| ISBN | : 0190052082 |
Games are a unique art form. They do not just tell stories, nor are they simply conceptual art. They are the art form that works in the medium of agency. Game designers tell us who to be in games and what to care about; they designate the player's in-game abilities and motivations. In other words, designers create alternate agencies, and players submerge themselves in those agencies. Games let us explore alternate forms of agency. The fact that we play games demonstrates something remarkable about the nature of our own agency: we are capable of incredible fluidity with our own motivations and rationality. This volume presents a new theory of games which insists on games' unique value in human life. C. Thi Nguyen argues that games are an integral part of how we become mature, free people. Bridging aesthetics and practical reasoning, he gives an account of the special motivational structure involved in playing games. We can pursue goals, not for their own value, but for the sake of the struggle. Playing games involves a motivational inversion from normal life, and the fact that we can engage in this motivational inversion lets us use games to experience forms of agency we might never have developed on our own. Games, then, are a special medium for communication. They are the technology that allows us to write down and transmit forms of agency. Thus, the body of games forms a "library of agency" which we can use to help develop our freedom and autonomy. Nguyen also presents a new theory of the aesthetics of games. Games sculpt our practical activities, allowing us to experience the beauty of our own actions and reasoning. They are unlike traditional artworks in that they are designed to sculpt activities - and to promote their players' aesthetic appreciation of their own activity.
| Author | : David Papineau |
| Publisher | : Basic Books |
| Total Pages | : 277 |
| Release | : 2017-05-02 |
| Genre | : Sports & Recreation |
| ISBN | : 0465094945 |
In Knowing the Score, philosopher David Papineau uses sports to illuminate some of modern philosophy's most perplexing questions. As Papineau demonstrates, the study of sports clarifies, challenges, and sometimes confuses crucial issues in philosophy. The tactics of road bicycle racing shed new light on questions of altruism, while sporting family dynasties reorient the nature v. nurture debate. Why do sports competitors choke? Why do fans think God will favor their team over their rivals? How can it be moral to deceive the umpire by framing a pitch? From all of these questions, and many more, philosophy has a great deal to learn. An entertaining and erudite book that ranges far and wide through the sporting world, Knowing the Score is perfect reading for armchair philosophers and Monday morning quarterbacks alike.
| Author | : David Davies |
| Publisher | : John Wiley & Sons |
| Total Pages | : 250 |
| Release | : 2011-05-06 |
| Genre | : Performing Arts |
| ISBN | : 1405188030 |
PHILOSOPHY OF THE PERFORMING ARTS “David Davies’s Philosophy of the Performing Arts is long-awaited. Not since Paul Thom’s For an Audience 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.” James Hamilton, Kansas State University, author of The Art of Theater “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.” Stephen Davies, University of Auckland, author of The Philosophy of Art Philosophical 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. Taking 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.
| Author | : Jeremy Killian |
| Publisher | : |
| Total Pages | : |
| Release | : 2022 |
| Genre | : Tragedy |
| ISBN | : 9780367519209 |
"Eugene O'Neill often characterized himself as a psychologist, asserting that "authors were psychologists...and profound ones, before psychology was invented." Though many of O'Neill's plays do reflect insights derived from early psychoanalytic method, contemporary students of psychology might bristle at O'Neil's characterization of his capacity to observe and describe the human condition. It might be better to characterize the so-called Father of American Tragedy as a kind of arm-chair philosopher, and this book attempts such a task. Through a close re- examination of Eugene O'Neill's oeuvre, from minor plays to his Pulitzer-winning works, this study proposes that O'Neill's philosophy of tragedy, though derivative of the larger Western approach to dramatic art, offers a unique account of why tragedy matters in today's world. In addition to offering a new paradigm through which to interpret O'Neill's work, this book argues that O'Neill's theory of tragedy is a robust description of the value of difficult theatre, with more explanatory scope and power than its historical counterparts. This volume enters the discussion of tragic value by way of the plays of Eugene O'Neill, and through this study, Killian makes the case that O'Neill refused to allow Plato to define the terms of tragedy's merit, as most Western theorists have. He argues that O'Neill's theory of tragedy is non-cognitive and locates the value of a play not in what we learn from it, but rather in its ability to make us feel emotions that are difficult to come by in everyday experience. This book is significant for students and scholars of performance studies, literature, and philosophy"--
