http://www.loc.gov/mods/v3 http://www.loc.gov/standards/mods/v3/mods-3-2.xsd
XX, 337 p. 16 illus., 9 illus. in color. online resource.
This collection of essays addresses emergent trends in the meeting of the disciplines of phenomenology and performance. It brings together major scholars in the field, dealing with phenomenological approaches to dance, theatre, performance, embodiment, audience, and everyday performance of self. It argues that despite the wide variety of philosophical, ontological, epistemological, historical and methodological differences across the field of phenomenology, certain tendencies and impulses are required for an investigation to stand as truly phenomenological. These include: description of experience; a move towards fundamental conditions or underlying essences; and an examination of taken-for-granted presuppositions. The book is aimed at scholars and practitioners of performance looking to deepen their understanding of phenomenological concepts and methods, and philosophers concerned with issues of embodiment, performativity and enaction.
1. Introduction; Stuart Grant, Jodie McNeilly-Renaudie, Matthew Wagner -- 2. The Essential Question: So what's phenomenological about Performance Phenomenology?; Stuart Grant -- 3. Phenomenological Methodology and Aesthetic Experience: Essential Clarifications and Their Implications; Maxine Sheets-Johnstone -- 4. The unnamed origin of the performative in Heidegger's interpretation of Aristotelian Phronēsis; Stuart Grant -- 5. A Phenomenology of Being Seen; Sondra Fraleigh -- 6. 'A unique way of being': The place of music in Merleau-Ponty's Phenomenology of Perception; Marc Duby -- 7. Foregrounding the imagination: re-reflecting on dancers' engagement with video self-recordings; Shantel Ehrenberg -- 8. Sensing Film Performance; Sean Redmond -- 9. Phenomenologically absurd, absurdly phenomenological; Jodie McNeilly-Renaudie and Pierre-Jean Renaudie -- 10. On Not Being Able to Dance: The Interring; Robert P. Crease.-11. Performance Criticism: Live writing as phenomenological poiēsis; Diana Damian Martin -- 12. The Erotic Reduction: Crossed flesh in Lea Anderson's The Featherstonehaughs Draw on the Sketchbooks of Egon Schiele; Nigel Stewart -- 13. Sound Design: A Phenomenology; Christopher Wenn -- 14. Acting without 'meaning' or 'motivation': A first-person account of acting in the pre-articulate world of immediate lived/living experience; Phillip B. Zarrilli -- 15. Thinking with Performance; Ian Maxwell.
edited by Stuart Grant, Jodie McNeilly-Renaudie, Matthew Wagner.