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- Publisher
- University of Illinois Press
- Copyright
- Copyright © University of Illinois Press
- ISSN
- 1543-7809
- Publisher site
- See Article on Publisher Site
Abstract
AARON Introduction In his 1992 address to the American Society for Aesthetics, Peter Kivy suggested that philosophers of art might do best by giving up on "grand theorizing" (that is, pursuing the definition of art).1 In its place he proposed that they pursue the "careful and imaginative philosophical scrutiny of the individual arts and their individual problems."2 Of course John Passmore and others had said similar things at earlier points,3 but philosophical aesthetics has, it seems to me, finally and robustly taken the turn toward the philosophies of the arts. Much of the best work in philosophical aesthetics over the last fifteen years or so has pursued the route Kivy suggested. James Hamilton's The Art of Theater is part of this turn--it is careful and imaginative scrutiny of the art of theater done at the very highest level, and I am delighted to have this opportunity to comment on it.4 In what follows I shall address a number of issues raised by Hamilton's work: the definition of theatrical enactment; the place of pretending and imagining in theatrical performance; the nature of Hamilton's "ingredients model" and its relation to more traditional accounts of the work/performance relation; the account of
Journal
The Journal of Aesthetic Education – University of Illinois Press
Published: Aug 14, 2009