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Performing Arts (performing + art)
Selected AbstractsWorks and Performances in the Performing ArtsPHILOSOPHY COMPASS (ELECTRONIC), Issue 5 2009David 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] Consumer Perceptions of Promotional Offers in the Performing Arts: An Experimental ApproachCANADIAN JOURNAL OF ADMINISTRATIVE SCIENCES, Issue 3 2004Alain D'Astous This article reports the results of an experimental study in which four characteristics of sales promotions in the performing arts were manipulated: the type of promotion, the type of performance, the attractiveness of the performance, and the fit between the promotion and the performance. The results show that these factors had interactive effects on consumer reactions. Thus, although the fit between the promotion and the performance had a generally positive impact on consumer appreciation of the promotional offer, this effect was more important when the performance was more attractive. Sales promotions that closely fit the performing arts category were less likely to be perceived as manipulative when the performances were less attractive. We conclude that more research is needed on this managerially relevant topic in light of the complex dynamics that appear to underlie the relationships between the characteristics of sales promotions and consumer reactions. Résumé Cet article présente les résultats d'une étude expérimentale dans laquelle quatre facettes d'une promotion des ventes dans le contexte des arts de la scène ont été manipulées: le type de promotion, le type de performance, l'attrait de la performance et le lien entre la promotion et la performance. Les résultats montrent que ces facteurs ont des effets interactifs sur les réactions des consommateurs. Ainsi, même si le lien entre la promotion et la performance a un impact positif sur l'appréciation d'une offre promotionnelle, cet impact est plus important lorsque la performance est plus attrayante. Les promotions des ventes qui ont un lien fort avec le type d'art de la scène sont moins susceptibles d'être perçues comme des tentatives de manipulation. On conclut qu'il est nécessaire defaire plus de recherche sur ce sujet qui est pertinent pour les gestionnaires étant donné l'apparente complexité qui sous-tend les relations entre les caractéristiques des promotions des ventes et les réactions des consommateurs. [source] Leadership is a performing artLEADER TO LEADER, Issue 55 2010Kevin D. Asbjörnson First page of article [source] Medicine as a performing art: a worthy metaphorMEDICAL EDUCATION, Issue 10 2003James O Woolliscroft Purpose ,Despite numerous calls for reform over several decades, medical educators have been unable to address many significant challenges. Potentially, employing new metaphors and looking at the teaching and learning of medicine in a new way will facilitate the development of creative solutions. Main findings ,In this paper we propose the metaphor of medicine as a performing art. Building on this metaphor, string music education is compared to medical education. Principal conclusions ,Looking to string education as a model, suggestions for reorganisation of learning experiences, academic structure and assessment are discussed. Medical educators are encouraged to think about the challenges they face in creative ways. By looking outside traditional medical education, solutions may be found to new and old educational dilemmas. [source] Preserved painting creativity in an artist with Alzheimer's diseaseEUROPEAN JOURNAL OF NEUROLOGY, Issue 6 2005L. R. Fornazzari Creativity in any of its forms, either visual, musical, literary or performing arts, may be conceived as a cognitive capability, and should be actively explored in relation to patients with Alzheimer disease and related dementias, even when other cognitive functions do not allow us to even communicate with them. We are reporting the case of a talented artist with the diagnosis of early onset Alzheimer disease (AD) with progressive cognitive impairment but with preservation of her creativity until very late in the course of the disease. [source] Strategic stakeholder orientations and performance consequences,a case of private nonprofit performing arts in the USINTERNATIONAL JOURNAL OF NONPROFIT & VOLUNTARY SECTOR MARKETING, Issue 1 2010Jasper Hsieh This paper borrows a market orientation perspective in considering how organizations behave toward stakeholders and the implications on performance in the institutional performing arts environment. To investigate the relationship between stakeholder orientations and organizational performance, both interviews and a survey instrument were used. Using nonprofit performing arts organizations in three metropolitan areas of Northwestern US as a sample frame, primary data was collected from leading directors of these organizations. The results generally indicate a positive relationship between stakeholder orientation and organizational performance. Complex relationships between dimensions of stakeholder orientation and performance consequences were also observed. Copyright © 2009 John Wiley & Sons, Ltd. [source] Regional voices talk theatre: audience development for the performing artsINTERNATIONAL JOURNAL OF NONPROFIT & VOLUNTARY SECTOR MARKETING, Issue 1 2008Rebecca ScollenArticle first published online: 6 MAR 200 Audience development is somewhat of a ,buzz word' within the Australian performing arts sector at present. However, rather than actually engaging with audiences and with non-attenders to discover how to best serve the community, most of the performing arts organisations approach audience development from a product-centred viewpoint. In direct contrast to this, the Talking Theatre project (2004,2006) was implemented in regional Queensland and in the Northern Territory in Australia as an audience development initiative focused on the consumer. The project sought to assist performing arts centres (PACs) to better engage with their local communities and to build new audiences for the future. In particular, the research aimed to understand non-attenders, their reasons for non-attendance and their reactions to a range of live performances they experienced under study conditions. The Talking Theatre project provided the vehicle for introduction, communication and relationship building to occur to assist in attitudinal and behavioural change. The non-attenders enjoyed their experiences at the PACs and have begun attending performances outside of study conditions. Limited awareness of the performing arts' relevance to their lives combined with a lack of positive peer influence to attend, were the chief deterrents to attendance for the participants in the study. Copyright © 2007 John Wiley & Sons, Ltd. [source] Space, sanctity and service; the English Cathedral as heterotopiaINTERNATIONAL JOURNAL OF TOURISM RESEARCH, Issue 5 2002Myra Shackley Abstract The 43 Anglican Diocesan cathedrals in England attract in excess of 30 million tourist visitors per year, but also function as museums, centres for pilgrimage and foci for the performing arts. This paper examines the complex nature of the experience offered by cathedrals to their visitors, which often generates difficulties associated with sites that may be viewed as interfaces between the sacred and the profane. It also identifies the problems presented by the requirement to earn revenue from visitors (especially by charging admission) when still offering facilities for worship, prayer or meditation. The model adopted is Foucault's concept of sacred space as heterotopia (a ritual space that exists out of time). It is argued that difficulties over admissions charges are not simply straightforward reluctance to pay up, but intrinsically related to the nature of the spiritual experience expected and received by visitors to cathedrals, whether consciously or not. Copyright © 2002 John Wiley & Sons, Ltd. [source] Works and Performances in the Performing ArtsPHILOSOPHY COMPASS (ELECTRONIC), Issue 5 2009David 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] Applying general living systems theory to learn consumers' sense making in attending performing artsPSYCHOLOGY & MARKETING, Issue 5 2001Marylouise Caldwell Consumers seek pleasurable experiences when attending performing arts. Yet, no theory exists to explain and predict the sense making associated with this unique consumption activity. General living systems theory (GLST) is applied to offer a systems-based model intended to be useful in this respect. This work contributes to some important streams of research. For certain types of hedonic consumption, behavior can only be understood in the light of the subtleties of consumer interpretation and the entire buying,consuming process. The suggested GLST paradigm attempts to go beyond choice to achieve an understanding of lived experiences within the realities perceived by consumers. © 2001 John Wiley & Sons, Inc. [source] Consumer Perceptions of Promotional Offers in the Performing Arts: An Experimental ApproachCANADIAN JOURNAL OF ADMINISTRATIVE SCIENCES, Issue 3 2004Alain D'Astous This article reports the results of an experimental study in which four characteristics of sales promotions in the performing arts were manipulated: the type of promotion, the type of performance, the attractiveness of the performance, and the fit between the promotion and the performance. The results show that these factors had interactive effects on consumer reactions. Thus, although the fit between the promotion and the performance had a generally positive impact on consumer appreciation of the promotional offer, this effect was more important when the performance was more attractive. Sales promotions that closely fit the performing arts category were less likely to be perceived as manipulative when the performances were less attractive. We conclude that more research is needed on this managerially relevant topic in light of the complex dynamics that appear to underlie the relationships between the characteristics of sales promotions and consumer reactions. Résumé Cet article présente les résultats d'une étude expérimentale dans laquelle quatre facettes d'une promotion des ventes dans le contexte des arts de la scène ont été manipulées: le type de promotion, le type de performance, l'attrait de la performance et le lien entre la promotion et la performance. Les résultats montrent que ces facteurs ont des effets interactifs sur les réactions des consommateurs. Ainsi, même si le lien entre la promotion et la performance a un impact positif sur l'appréciation d'une offre promotionnelle, cet impact est plus important lorsque la performance est plus attrayante. Les promotions des ventes qui ont un lien fort avec le type d'art de la scène sont moins susceptibles d'être perçues comme des tentatives de manipulation. On conclut qu'il est nécessaire defaire plus de recherche sur ce sujet qui est pertinent pour les gestionnaires étant donné l'apparente complexité qui sous-tend les relations entre les caractéristiques des promotions des ventes et les réactions des consommateurs. [source] | |||||||||||||