An inclusive sense of ‘opera’ is distinguished from the Western high‐art sense. The problem of aesthetic unity in opera is discussed in relation to hybrid art forms ; specific operatic styles ; individual operatic productions and performances . The article includes links to video clips from operatic performances.

This essay is a survey of positions on the relation between texts and performances in theater. It proposes a simple framework within which to compare and evaluate these positions. The framework also allows us to see a pattern of thinking that reflects the historical fact of the importance of the literary tradition in theater. The essay points out certain challenges facing the positions surveyed and concludes with a brief sketch of the most recent views that have been put on offer. (...) The latest positions re-situate the literary theater as a species of the more general phenomena of theatrical performance. (shrink)

We can portray or take on the role of someone whom we are not. For example, a professional actor can play the role of a fictional character who does not exist in the real world, although she believes she is not that person. This behavior is named “acting.” My aim here is to locate the necessary and sufficient conditions of acting. In my view, acting is a process of communication between actors and audiences. One of its necessary components is that (...) actors use their own features to represent those features that their characters have; another is that actors intend to make their audiences imagine that they are themselves identical to their characters. In this article, I specify these two components, critique other views of the definition of acting and distinguish acting from other similar processes. (shrink)

The primary purpose of the performing arts is to prepare and present 'artistic performances', performances that either are themselves the appreciative focuses of works of art or are instances of other things that are works of art. In the latter case, we have performances of what may be termed 'performed works', as is generally taken to be so with performances of classical music and traditional theatrical performances. In the former case, we have what may be termed 'performance-works', as, for example, (...) in free improvisations. Where we have performances of performed works, a number of distinctive philosophical questions arise: What kind of thing is a performed work? How is it appreciated through its performances? Is 'authenticity' an artistically relevant quality of performances of performed works, and, if so, why? How much of what goes on in the performing arts is rightly viewed as the performance of performed works? Artistic performances, whether or not they are of performed works, raise philosophical questions of their own. Can a performance itself be rightly viewed as a work of art? How do improvisation and rehearsal enter into the performing arts, and how do they bear on the appreciation of artistic performances? What role does the audience play in such performances? Does the performer's use of her own body as an artistic medium, as for example in dance performance, generate special constraints on appreciation? How, finally, does what is usually classified as 'performance art' relate to activities in the performing arts more generally construed? I critically survey the ways in which these questions have been addressed by principal theorists in the field. (shrink)

This paper has three objectives. First, I argue that apprehending an installation artwork is similar to apprehending an artwork for performance: in each case, audiences must recognize a relationship between the performance or display one encounters and the parameters expressed in the underlying work. Second, I consider whether realizations are also artworks in their own right. I argue that, in both installation art and performance, a particular realization is sometimes an artwork in its own right (even as it realizes another (...) work). I offer criteria for determining when this is the case. Application of the criteria yields the verdict that performances are sometimes artworks in their own right, while displays of installation artworks rarely are. This difference, though, is merely contingent on the conventions of the respective art forms. Third, I address ontological concerns about entities that are both abstract and temporal, as many artworks are on my analysis. (shrink)

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 (...) is Hamlet? yields an answer where both actor and character have legitimate exclusive rights to being “Hamlet.” In short, to whom/what does the name of a theatrical character refer? By first arguing that theatre works as a reverse-“beetle” language-game, whereby I posit that theatre allows for private rule-making, I am able to turn to the idea of reference. It is by examining the name of theatrical characters and what these names refer to that I suggest that – following Hegel – theatrical names refer dialectically. Understanding theatrical characters as such, interpretation hinges not only on the output of theatre (i.e., the meaning), but also the input (i.e., the truth value). (shrink)

Attempting art: an essay on intention-dependenceIt is a truism among philosophers that art is intention-dependent—that is to say, art-making is an activity that depends in some way on the maker's intentions. Not much thought has been given to just what this entails, however. For instance, most philosophers of art assume that intention-dependence entails concept-dependence—i.e. possessing a concept of art is necessary for art-making, so that what prospective artists must intend is to make art. And yet, a mounting body of anthropological (...) and art-historical evidence and philosophical argument suggests that not only is such a criterion unsatisfied by most of the art-historical canon, but it also rests on a false premise: concepts of 'art' are not shared between cultures, nor even in the same culture across time. My dissertation aims to rectify this error by first exploring what our commitment to art's intention-dependence actually entails, and then showing that, properly understood, intention-dependence sets a number of important constraints on theories of art with respect to explanatory desiderata such as the success- and failure-conditions of art-attempts, the cross-cultural identification of art, and the reference of 'art' and art-kind terms. I begin by situating art's intention-dependence in the philosophical literature on intentional action, arguing that, properly conceived, intention-dependence is a weak criterion which can be satisfied either directly or indirectly. It therefore does not necessarily entail concept-dependence. I then use this distinction to motivate a new treatment of the success- and failure-conditions for art-attempts, arguing that the extant model's emphasis on compliance with 'the manner intended' is far too restrictive to capture actual artistic practices. I go on to show that Ruth Millikan's model of linguistic conventions supplies an independently plausible explanation of art's concept-independent origins in terms of the development of a system of indirectly intention-dependent conventions called an 'artworld'. I argue that this account of artworld development supplies us with the tools we need to distinguish art-kinds from other artifactual kinds. Finally, I turn my attention to methodological issues, arguing that even though 'art' is a social kind with its roots in arbitrary and historically-contingent networks of conventions, the philosophy of art is not merely an exercise in bare conceptual analysis. In fact, there is now a great deal of evidence to show that the ways we think about 'art' are inconsistent, incomplete, imperialistic, and largely unprincipled. Yet I argue that this does not mean that the artworld data have no bearing on theories of art. Instead, I argue that our best reflective understanding of our artworld practices sets the constraints on the reference of 'art' and art-kind terms. I argue that we have no privileged epistemic access to the ontology of social kinds; our only privilege lies in our ability to determine the proper subject of our inquiries. (shrink)

A survey of and a comparison of the relative strengths of two favored views of what theatrical performers do: pretend or engage in a variety of self-display. The behavioral version of the pretense theory is shown to be relatively weak as an instrument for understanding the variety of performance styles available in world theater. Whether pretense works as a theory of the mental capacities that underly theatrical performance is a separate question.