Performance and Authenticity in the Arts

doi:10.1017/CBO9780511520051

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Crossref Citations

This Book has been cited by the following publications. This list is generated based on data provided by Crossref.

Bertolaso, Yolanda 2000. Aktuelle Buchtips. Musik-, Tanz- und Kunsttherapie, Vol. 11, Issue. 1, p. 48.

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Revermann, Martin 2006. The competence of theatre audiences in fifth- and fourth-century Athens. The Journal of Hellenic Studies, Vol. 126, Issue. , p. 99.

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Liedtka, Jeanne 2008. Strategy Making and the Search for Authenticity. Journal of Business Ethics, Vol. 80, Issue. 2, p. 237.

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Wilson, Nick 2014. Managing Authenticity. Journal of Critical Realism, Vol. 13, Issue. 3, p. 286.

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Yoon, Jeongkoo and Lee, Soojung 2016. Advances in Group Processes. Vol. 33, Issue. , p. 93.

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Bordemann, Suzanne 2020. «For forfatteren er nemlig et viktig menneske»:Om autentisitetsbegrepet med særlig fokus på Christa Wolfs poetikk. Norsk litteraturvitenskapelig tidsskrift, Vol. 23, Issue. 1, p. 25.

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Edited by Salim Kemal, Ivan Gaskell, Harvard University Art Museums, Massachusetts

Publisher:: Cambridge University Press
Online publication date:: November 2009
Print publication year:: 1999
Online ISBN:: 9780511520051
DOI:: https://doi.org/10.1017/CBO9780511520051

Subjects:: Art: General Interest, Philosophy: General Interest, Art, Philosophy
Series:: Cambridge Studies in Philosophy and the Arts

30.99 (GBP)

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This book brings together a distinguished group of scholars from music, drama, poetry, performance art, religion, classics and philosophy to investigate the complex and developing interaction between performance and authenticity in the arts. The volume begins with a perspective on traditional understandings of that relation, examining the crucial role of performance in the Poetics, the marriage of art with religion, the experiences of religious and aesthetic authenticity, and modernist conceptions of authenticity. Several essays then consider music as a performative art. The final essays discuss the link of authenticity to sincerity and truth in poetry, explain how performance, as an authentic feature of poetry, embodies a collective effort, and culminate in a discussion of the dark side of performance - its constant susceptibility to inauthenticity. Together the essays suggest how issues of performance and authenticity enter into consideration of a wide range of the arts.

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Performance and Authenticity in the Arts

This Book has been cited by the following publications. This list is generated based on data provided by Crossref.

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Contents

Frontmatter
pp i-vi

Contents
pp vii-viii

List of Contributors
pp ix-ix

Editors' Acknowledgments
pp x-x

1 - Performance and authenticity
pp 1-12

Part I - Performance, religion, and authenticity
pp 13-14

2 - The Poetics of performance: the necessity of spectacle, music, and dance in Aristotelian tragedy
pp 15-48

3 - The “confessing animal” on stage: authenticity, asceticism, and the constant “inconstancie” of Elizabethan character
pp 49-65

4 - Art, religion, and the hermeneutics of authenticity
pp 66-94

Part II - Understanding, performance, and authenticity
pp 95-96

5 - Understanding music
pp 97-113

6 - Understanding music
pp 114-128

7 - Musical performance as analytical communication
pp 129-153

8 - Performance authenticity possible, practical, virtuous
pp 154-174

9 - Why is it impossible in language to articulate the meaning of a work of music?
pp 175-194

Part III - Authenticity, poetry, and performance
pp 195-196

10 - Inauthenticity, insincerity, and poetry
pp 197-214

11 - Poetry's oral stage
pp 215-253

12 - True stories: Spalding Gray and the authenticities of performance
pp 254-271

Index
pp 272-274

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Performance and Authenticity in the Arts

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