This paper formulates a Deweyan theory of performing arts practice that relies for its support on two main things: The unity Dewey ascribed to all intelligent practices (including artistic practice) and The observation that many aspects of the work of performing artists of Dewey’s time include features (“dramatic rehearsal,” action, interaction and habit development) that are part of Dewey’s characterization of the moral life. This does not deny the deep import that Dewey ascribed to aesthetic experience (both in art and (...) in life), but it does suggest that we might use his theory of ethical practice in conjunction with his theory of art as experience in order to create a more robust and unified Deweyan theory of what the performing artist does. (shrink)

El artículo muestra cómo J. Dewey entiende “lo religioso”, no como experiencia sepa-rada, sino como intensidad de cada vivencia que realza y expande su cualidad estética. La vida cotidiana constituye el reino del hombre sobre la naturaleza que exige recobrar la relación originaria con esta y, desde allí, con Dios. Esto implica vivir de primera mano toda experiencia individual, toda vez que conlleva ser interpelado por las si-tuaciones problemáticas. Se explica la forma de dicho movimiento de la experiencia.