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  1. Review of Siddhartha Biswas's Theatre Theory and Performance: A Critical Interrogation. [REVIEW]Subhasis Chattopadhyay - 2019 - Prabuddha Bharata or Awakened India 124 (9):672-4.
    Biswas's book is a panoramic treatment of contemporary world theatre. The book under review will help both the neophyte, as also a scholar to negotiate ancient dramaturgy and more recent theatre. Biswas's eye for details is also remarked in this review. The review shows how Biswas, as it were, has written a manifesto of protest in this book.
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  2. La sociedad del espectáculo de Guy Debord: 50 años después.José Ramón Fabelo Corzo - 2019 - In José Ramón Fabelo Corzo & Mayra Sánchez Medina (eds.), Coordenadas epistemológicas para una estética en construcción. Puebla, Pue., México: pp. 259-274.
    En 1967, el francés Guy Debord escribía un resonante texto, La sociedad del espectáculo, en el que nos ofrece una penetrante y aguda reflexión sobre la sociedad de consumo —cuya experiencia directa vive en la Francia de la posguerra—, donde florece la economía de la abundancia, la industria del ocio, la generalización de los medios de comunicación audiovisual y la propagación del llamado american way of life. Anclado fuertemente en las ideas de Marx sobre la alienación y el fetichismo mercantil, (...)
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  3. “Propositions in Theatre: Theatrical Utterances as Events”.Michael Y. Bennett - 2018 - Journal of Literary Semantics 47 (2):147-152.
    Using William Shakespeare’s Hamlet and the play-within-the play, The Murder of Gonzago, as a case study, this essay argues that theatrical utterances constitute a special case of language usage not previously elucidated: the utterance of a statement with propositional content in theatre functions as an event. In short, the propositional content of a particular p (e.g. p1, p2, p3 …), whether or not it is true, is only understood—and understood to be true—if p1 is uttered in a particular time, place, (...)
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  4. A Theater of Ideas: Performance and Performativity in Kierkegaard’s Repetition.Martijn Boven - 2018 - In Eric Jozef Ziolkowski (ed.), Kierkegaard, Literature, and the Arts. Evanston, IL, USA: pp. 115-130.
    In this essay, I argue that Søren Kierkegaard’s oeuvre can be seen as a theater of ideas. This argument is developed in three steps. First, I will briefly introduce a theoretical framework for addressing the theatrical dimension of Kierkegaard’s works. This framework is based on a distinction between“performative writing strategies” and “categories of performativity.” As a second step, I will focus on Repetition: A Venture in Experimenting Psychology, by Constantin Constantius, one of the best examples of Kierkegaard’s innovative way of (...)
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  5. Magic: The Art of the Impossible.Jason Leddington - 2017 - In David Goldblatt, Lee B. Brown & Stephanie Patridge (eds.), Aesthetics: A Reader in the Philosophy of the Arts. New York, USA: Routledge. pp. 373-379.
    An introduction to the philosophical study of theatrical magic.
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  6. ¿Qué hacer con el legado teórico-práctico de Augusto Boal? (A modo de Presentación).José Ramón Fabelo Corzo & Ana Lucero López Troncoso - 2016 - In José Ramón Fabelo Corzo & Ana Lucero López Troncoso (eds.), Teatro y Estética del Oprimido. Homenaje a Augusto Boal. Puebla, Pue., México: pp. 11-21.
    El texto sirve como capítulo introductorio y de presentación del libro Teatro y Estética del Oprimido. Homenaje a Augusto Boal. Se reflexiona y evalúa críticamente sobre los diferentes "usos" que se hacen del legado teórico-práctico de Augusto Boal, lo que se hace y lo que, ajuicio de los autores, se debe hacer con él. Se describe además las fuentes y el contenido capitular del libro en cuestión.
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  7. Teatro y Estética del Oprimido. Homenaje a Augusto Boal.José Ramón Fabelo Corzo & Ana Lucero López Troncoso (eds.) - 2016 - Puebla, Pue., México: Colección La Fuente, BUAP.
    Este libro inaugura la serie Homenaje de la Colección La Fuente. Con él se busca reconocer, de manera particular, al pensador, dramaturgo y director brasileño Augusto Boal (1931-2009), creador del teatro y la estética del oprimido, genuina aportación cultural latinoamericana que mucho tiene que ver con ese particular lugar de enunciación que es Nuestra América y sus siempre actuales expectativas emancipadoras. El libro fue precedido y nutrido por un Coloquio que en mayo de 2014 reunió a importantes especialistas y seguidores (...)
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  8. Improvisation in the Arts.Aili Bresnahan - 2015 - Philosophy Compass 10 (9):573-582.
    This article focuses primarily on improvisation in the arts as discussed in philosophical aesthetics, supplemented with accounts of improvisational practice by arts theorists and educators. It begins with an overview of the term improvisation, first as it is used in general and then as it is used to describe particular products and practices in the individual arts. From here, questions and challenges that improvisation raises for the traditional work-of-art concept, the type-token distinction, and the appreciation and evaluation of the arts (...)
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  9. The Aesthetic Response: The Reader in Macbeth.Ali Salami - 2012 - Folia Linguistica Et Litteraria 12.
    This article seeks to explore the different strategies the Bard uses in order to evoke sympathy in the reader for Macbeth who is so persistent in the path of evil. What strategy does Shakespeare use in order to provoke such a deep emotional response from his readers? By using paradoxes in the play, the Bard creates a world of illusion, fear and wild imagination. The paradoxical world in Macbeth startles us into marvel and fear, challenges our commonly held opinions, and (...)
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  10. Convention, Audience, and Narrative: Which Play is the Thing?Leslie A. Howe - 2011 - Journal of the Philosophy of Sport 38 (2):135-148.
    This paper argues against the conception of sport as theatre. Theatre and sport share the characteristic that play is set in a conventionally-defined hypothetical reality, but they differ fundamentally in the relative importance of audience and the narrative point of view. Both present potential for participants for development of selfhood through play and its personal possibilities. But sport is not essentially tied to audience as is theatre. Moreover, conceptualising sport as a form of theatre valorises the spectator’s narrative as normative (...)
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  11. Scrutinizing the Art of Theater.Aaron Meskin - 2009 - Journal of Aesthetic Education 43 (3):pp. 51-66.
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  12. Spectres of Duty: The Politics of Silence in Ibsen’s Ghosts.Dimitris Vardoulakis - 2009 - Orbis Litterarum 64 (1):50–74.
    The article examines the concept of duty with reference to Ibsen's play "Ghosts." It offers a brief genealogy of duty while linking the concept of duty to a deconstructive approach.
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  13. Perception, Action and Identification in the Theatre.Bence Nanay - 2006 - In Daniel Krasner (ed.), Staging Philosophy. Ann Arbor: Michigan University Press.
    My endeavor in this paper is to examine the ways in which exactly the general structure of perception is modified in the case of the reception of theatre performances. First, perception in general is examined and it is argued that a basic characteristic of perception is that it is sometimes interdependent with action. After the analysis of perception in general, I turn to the special case of the perception of a theatre performance (or, theatre-perception, for short) and examine the role (...)
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  14. A Counter-Example to Theatrical Type Theories.John Dilworth - 2003 - Philosophia 31 (1-2):165-170.
    Plays, symphonies and other works in the performing arts are generally regarded, ontologically speaking, as being types, with individual performances of those works being regarded as tokens of those types. But I show that there is a logical feature of type theory which makes it impossible for such a theory to satisfactorily explain a 'double performance' case that I present: one in which a single play performance is actually a performance of two different plays. Hence type theories fail, both for (...)
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  15. The Fictionality of Plays.John Dilworth - 2002 - Journal of Aesthetics and Art Criticism 60 (3):263–273.
    The category of works of fiction is a very broad and heterogeneous one. I do have a general thesis in mind about such works, namely, that they themselves are fictional, in much the same way as are the fictional events or entities that they are about. But a defense of such a broad thesis would provide an intractably complex topic for an introductory essay, so I shall here confine myself to a presentation of a similar thesis for narrative theatrical works (...)
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  16. Theater, Representation, Types and Interpretation.John Dilworth - 2002 - American Philosophical Quarterly 39 (2):197-209.
    In the performing arts, including music, theater, dance and so on, theoretical issues both about artworks and about performances of them must be dealt with, so that their theoretical analysis is inherently more complex and troublesome than that of nonperforming arts such as painting or film, in which primarily only artworks need to be discussed. Thus it is especially desirable in the case of the performing arts to look for defensible broad theoretical simplifications or generalizations that could serve to unify (...)
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