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  1. "Theatrical Names and Reference".Michael Y. Bennett - 2015 - Palgrave Communications 1 (1).
    The relationship between “character” and an “actor” appears to be quite straightforward: an actor acts as/plays character [x]. But let us be more specific and reword this formulation: actor [y] acts as/plays Hamlet. Or – for the time of the play – actor [y] is Hamlet. And it is this last statement that is paradoxically utterly true and utterly false. It is in the name of a theatrical character that the tension between actor and character arises. Asking, for example, who (...)
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  • 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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  • The ontology of art and knowledge in aesthetics.Amie L. Thomasson - 2005 - Journal of Aesthetics and Art Criticism 63 (3):221–229.
    Amie L. Thomasson; The Ontology of Art and Knowledge in Aesthetics: Thomasson The Ontology of Art and Knowledge in Aesthetics, The Journal of Aesthetics and Art.
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  • Debates about the Ontology of Art: What are We Doing Here?Amie L. Thomasson - 2006 - Philosophy Compass 1 (3):245-255.
    Philosophy Compass, Volume 1. Oxford: Blackwell, 2006.
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