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For an audience : a philosophy of the performing arts

Author: Paul Thom
Publisher: Philadelphia : Temple University Press, 1993.
Series: Arts and their philosophies.
Edition/Format:   Print book : EnglishView all editions and formats
Summary:
For an Audience is a philosophical examination of the criteria for identifying, evaluating, and appreciating music, drama, and dance-art forms that necessitate performance for their full realization. Unlike his contemporaries, Paul Thom concentrates on an analytical approach to evaluating performance art.
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Material Type: Internet resource
Document Type: Book, Internet Resource
All Authors / Contributors: Paul Thom
ISBN: 0877229910 9780877229919
OCLC Number: 25409561
Description: vii, 239 pages : illustrations ; 24 cm.
Contents: Performing/Nonperforming Arts. Artistic/Nonartistic Performance. The Tradition of Philosophizing about the Performing Arts. The Traditional Valorization of the Performing Arts. The Traditional Structure. Philosophical Problems and Theories --
pt. 1. Performing a Work. Ch. 1. Works for Performance. The Absent Author. The Marginalization of Staging. Works of Art. Works for Performance. Works for Playing. Ch. 2. Performance without Works. Improvisation. Routines. The End of the Work. Ch. 3. The Value of the Work. The Incompleteness of Works for Performance. Authenticity in Performance. Interpretation. Interpretation of Works for Performance. The Traditional Valorization of Performative Interpretation. The Consummate Performer.
Series Title: Arts and their philosophies.
Responsibility: Paul Thom.

Abstract:

Examines the criteria for identifying, evaluating, and appreciating art forms that require performance for their full realization. This book focuses on an analytical approach to evaluating music,  Read more...

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"Thom succeeds in laying the foundations for a philosophy of the performing arts in the analytic tradition." --Laurent Stern, Rutgers University

 
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   schema:description "Thom discusses the impact of music, drama, and dance performances on audiences, and evaluates their expectations, reception, and interpretations. He contends that audiences play an active role as interpreters, without becoming performers themselves. This audience interpretation is the final ingredient in the blending and interrelating of the performers, the performance, and the audience."@en ;
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   schema:description "Several lines of reasoning are discussed and developed regarding music: Music must be understood in relation to actions rather than sounds, and improvisation is not always the performance of a musical work. Furthermore, Thom considers questions of incompleteness and authenticity in relation to the score, the score's function, and the sense in which musical performances are interpreted or are open to interpretation."@en ;
   schema:description "Separating this abstract entity - performance art - into its various elements enables Thom to study its nature and determine essential features and their relationships. Throughout the book, he debates traditional thought in numerous areas of the performing arts. He argues, for example, against the invisibility of the performer - the vehicle of representation in performance - then critiques Diderot's Paradox of Performance, calling it "the most extreme formulation of the traditional valorization" and declaring that such thinking must be abandoned."@en ;
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