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Artistic Performances (artistic + performance)

Distribution by Scientific Domains
Humanities and Social Sciences80%

Selected Abstracts

Works and Performances in the Performing Arts

PHILOSOPHY COMPASS (ELECTRONIC), Issue 5 2009
David Davies
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. [source]

Bridging the black hole of trauma: the evolutionary significance of the arts

PSYCHOTHERAPY AND POLITICS INTERNATIONAL, Issue 3 2010
Sandra L. BloomArticle first published online: 5 SEP 2010
Abstract One word for the Devil is ,Diabolos', the divider, the splitter-into-fragments. Healing likewise has always been associated with integration, integrity and becoming whole. From ncient times to the present, artistic performance in all its variety has been connected to healing of self and community and yet a recurrent question arises, ,What are the arts for?'. A less than concrete answer to this question appears to justify reducing or eliminating funding to arts-related programs whenever financial crisis occurs. This paper explores the evolutionary significance of trauma, dissociation, and the human brain and raises the possibility that the evolutionary selection of artistic performance is as a primary integrating mechanism for traumatized individuals and groups, without which human beings may not be able to fully heal. Copyright © 2010 John Wiley & Sons, Ltd. [source]

Works and Performances in the Performing Arts

PHILOSOPHY COMPASS (ELECTRONIC), Issue 5 2009
David Davies
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. [source]

Front and Back Covers, Volume 22, Number 3.

ANTHROPOLOGY TODAY, Issue 3 2006
June 200
Front and back cover caption, volume 22 issue 3 Front & back cover ANTHROPOLOGY AND SOCIAL MEMORY The front cover shows a statue Of General Francisco Franco In the exhibition 'Franco, Listen!', held at the Museum of Vilafranca del Penedčs, Barcelona. The statue was displayed with the aim of stimulating comment, dialogue and action among museum visitors around the time of the 30th anniversary of the dictator's death on 20 November 1975. It was attacked by a group of Catalan pro-independence activists, who poured red paint over Franco's head, invested him with a crown, and hung a sign around his neck reading: 'The Spanish Monarchy is a direct inheritance from Franco - end the hypocrisy.' The back cover shows a formerly unmarked mass grave strewn with floral tributes after a spontaneous ceremony led by relatives of the 46 people killed near Villamayor de los Montes (Burgos), following the exhumation of the bodies in July 2004. In this issue, Francisco Ferrándiz describes the debates taking place in Spain around the exhumation of mass graves from the Civil War (1936-1939). In the last few years the strength of the 'movement for the recovery of historical memory' linked to the exhumations has been such that some on the political right are denouncing the advent of a 'new hegemony of the defeated' that is taking the place of the 'agreement of all' which many believe was the trademark of the Spanish transition to democracy. Proposing that anthropologists visit and address the sites of memory - exhumations, cemeteries, political discourses, laws and commemorations, claims of victimhood, media reports, artistic performances, forensic laboratories, academic meetings and summer schools, historiographical debates, civil associations, historical archives, public and private rituals, narratives of the defeat and old photo albums, to name a few - Ferrándiz encourages anthropology to engage in 'rapid response' research, to diversify fieldwork locations, to modulate research strategies in order to address rapidly evolving problems, to continue visiting the sites of violence, past and present, and to produce the type of knowledge that allows us to participate in substantive ways in social and political debates well beyond our discipline and beyond our academic setting. [source]

Works and Performances in the Performing Arts

PHILOSOPHY COMPASS (ELECTRONIC), Issue 5 2009
David Davies
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. [source]