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Готові списки джерел за темами / Ethics and performing arts

Добірка наукової літератури з теми "Ethics and performing arts"

Автор: Grafiati

Опубліковано: 22 червня 2023

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Статті в журналах з теми "Ethics and performing arts":

1

Manchester, Ralph A. "Biomedical Ethics in Performing Arts Medicine Research." Medical Problems of Performing Artists 22, no. 3 (September 1, 2007): 87–88. http://dx.doi.org/10.21091/mppa.2007.3020.

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As the field of performing arts medicine continues to advance, it is essential that we maintain the trust that has been built over the last quarter century with the dancers, musicians, and other performing artists we serve. Trust is a precious commodity that is built over time, largely between individual health care professionals and the patients for whom they care. However, other things we do (or don't do) can have a major influence on the trust and confidence that others place in us. One of these is research and the way we conduct research, especially when it involves human subjects. The public's confidence in medical researchers has been shaken in the last few years as the result of a few well-publicized “bad outcomes” in clinical studies being done at leading academic medical centers in the U.S. and elsewhere. While we are unlikely to do gene-transfer or new drug development studies in an effort to address the health problems of musicians and dancers, we should still hold ourselves to the same ethical standards that apply to the rest of the healthcare world.

2

Rabin, Colette L. "The Theatre Arts and Care Ethics." Youth Theatre Journal 23, no. 2 (October 28, 2009): 127–43. http://dx.doi.org/10.1080/08929090903281436.

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3

MAKEHAM, PAUL. "Performing the City." Theatre Research International 30, no. 2 (July 2005): 150–60. http://dx.doi.org/10.1017/s030788330500115x.

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Lewis Mumford, writing in the 1930s, understood the city as a ‘theater of social action’. Mumford's ideas remain important in the context of the contemporary post-industrial city, in which theatricality and performativity are key drivers of so-called ‘experience economies’. Increasingly, urban planners are attuned to such theatrical notions as the ‘urban scene’ and ‘urban drama’ in framing policy. Adopting interpretive strategies enabled by Performance Studies, this paper gives an account of some of the ways in which theatre and performance are made manifest in cities. It considers some of the implications of urban performativity, arguing that good city planning demands an ethics of performance, whereby citizens become spectators and co-performers in the urban drama.

4

Motum, Robert. "Performing in Public: Ethics of a Site-Specific Theatre Practice." Canadian Theatre Review 192 (November 1, 2022): 37–40. http://dx.doi.org/10.3138/ctr.192.009.

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5

Shaw, Rhonda. "Performing breastfeeding: embodiment, ethics and the maternal subject." Feminist Review 78, no. 1 (November 2004): 99–116. http://dx.doi.org/10.1057/palgrave.fr.9400186.

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6

Afolabi, Taiwo. "From writing ethics to doing ethics: ethical questioning of a practitioner." Research in Drama Education: The Journal of Applied Theatre and Performance 26, no. 2 (February 1, 2021): 352–57. http://dx.doi.org/10.1080/13569783.2021.1880317.

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7

Bergen-Aurand, Brian. "Film/ethics." New Review of Film and Television Studies 7, no. 4 (December 2009): 459–70. http://dx.doi.org/10.1080/17400300903307050.

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8

Mooney, Jim. "Painting:Poignancy and Ethics." Journal of Visual Art Practice 2, no. 1+2 (July 2002): 57–63. http://dx.doi.org/10.1386/jvap.2.1and2.57.

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9

ANDERSON, LUVELL. "Roasting Ethics." Journal of Aesthetics and Art Criticism 78, no. 4 (September 2020): 451–64. http://dx.doi.org/10.1111/jaac.12757.

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10

Cubitt, Sean. "Rango, Ethics and Animation." Animation 12, no. 3 (November 2017): 306–17. http://dx.doi.org/10.1177/1746847717729605.

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Дисертації з теми "Ethics and performing arts":

1

Katz, David I. "Who's listening? The right, the wrong, and the real in improvised music." Thesis, Mills College, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10133464.

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What does the current focus on identity as a medium of social exchange bring into the practice of improvised music? What happens to listening, spontaneity, empathy, freedom and generosity in this social climate? Is there somehow emerging within the music-improvisatory discourse a kind of de facto constraint, perhaps superimposed on the musical language from the larger cultural field? The frameworks of music sociology, object relations theory, political philosophy, pedagogy, music history and art criticism offer a backdrop against which the complex challenges of interpersonal communication can be seen in their relevance to the here and now of music improvisation.

2

Rocco, Olivia. "Ethics and Theater-Making in Contemporary America: Making and Avoiding Unnatural Disasters." Ohio University Honors Tutorial College / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors158773070360455.

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3

Butler, Andrew Mark. "Ontology and ethics in the writings of Philip K. Dick." Thesis, University of Hull, 1995. http://hydra.hull.ac.uk/resources/hull:3894.

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4

Gucciardo, Alfonso Gianluca. "La médecine des arts du spectacle vivant : Histoire, diffusion internationale, pensée, éthique et pratiques." Electronic Thesis or Diss., Montpellier 3, 2022. https://ged.scdi-montpellier.fr/florabium/jsp/nnt.jsp?nnt=2022MON30057.

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Notre travail a pour objectif de traiter de la médecine des arts de la scène, et plus largement de la médecine des arts du spectacle vivant. En Europe et dans le monde, ce domaine médical n'est en effet pas toujours connu, compris, organisé ou reconnu. À partir d'une discussion sur la signification philosophique et épistémologique de ce sujet, et en nous appuyant sur notre pratique de médecin phoniâtre depuis vingt deux ans, notamment dans le domaine de la bioéthique et de la médecine de la voix, nous avons entrepris une lecture éthique et bioéthique visant à comprendre ses limites et ses possibilités, ainsi que ce qui est partageable et compréhensible par les professionnels susceptibles de l’exercer: médecins, rééducateurs, enseignants en art (de la voix, de la musique, de la danse ou du cirque), philosophes et, évidemment, artistes. Il nous est apparu que, loin d’appartenir aux thérapeutiques "complémentaires" ou "non fondées sur des preuves", la médecine des arts et du spectacle ne doit pas être comprise uniquement comme une médecine multidisciplinaire, mais comme une branche interdisciplinaire reposant sur des connaissances philosophiques et pédagogiques utiles à la santé physique, psychique et émotionnelle des artistes. En analysant plusieurs modèles internationaux, dont plusieurs auxquels nous contribuons, nous avons pu faire le constat que cette interdisciplinarité n'est pas toujours évidente. Nous avons enfin émis l’hypothèse que la médecine des arts et du spectacle vivant est une médecine non seulement pour l'artiste mais aussi et avant tout pour les arts du spectacle eux-mêmes qui, parfois, doivent également être soignés. Nous avons approfondi ce dernier sujet en conduisant une étude historique et éthique du phénomène du soin et de la cure de l'art et de l'interprète, des origines à nos jours
Performing Arts (PA) Medicine, meant as a "medicine for the art of living entertainment", is still not known and not well understood and framed and recognized, in Europe as well as in the other Continents. Starting from a discussion on the philosophical and epistemological meaning of this branch of medicine, we have arrived at a personal ethical and bioethical reading in order to understand its limits and strengths for doctors, rehab professionals, teachers of the arts of voice, music, dance and circus, philosophers and, obviously, artists. PA Medicine (whose name we also dealt about) is far from that medicine today called "complementary"/"not-Evidence Based", and is a branch of medical and philosophical and pedagogical knowledge useful to the artist's and art's physical, psychic and emotional health. PA Medicine is a Medicine not only for the artist but for the PA themselves which, at times, also need to be cured. We have deepened this last topic also starting from an historical and ethic study of the phenomenon of the “care and curing” of arts and of performers, from the origins to today

5

Thobani, Sitara. "Dancing diaspora, performing nation : Indian classical dance in multicultural London." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:c189d163-b113-408f-9f3b-181c6fd5fbce.

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This thesis examines the performance of Indian classical dance in the contemporary 'diaspora space' (Brah 1996) represented by the city of London. My aim is to analyse whether and how performances of "national" art, assumed to represent an equally "national" culture, change when performed in transnational contexts. Drawing upon theories of postcolonialism, multiculturalism and diaspora, I begin my study with an historical analysis of the reconstructed origins of the dance in the intertwined discourses of British colonialism and Indian nationalism. Using this analysis to ground my ethnography of the present-day practice of the dance, I unearth its relation to discourses of contemporary multiculturalism and South Asian diasporic identity. I then demonstrate specific ways in which the relationship between colonial and postcolonial artistic production on the one hand and contemporary performances of national and multicultural identity on the other are visible in the current practices and approaches of diasporic and multicultural Indian classical dancers. My thesis advances the scholarship that has demonstrated the link between the construction of Indian classical dance and the Indian nationalist movement by highlighting particular ways in which historical narrative, national and religious identities, gendered ideals and racialised categories are constituted through, and help produce in turn, contemporary Indian classical dance practices in the diaspora. Locating my study in the UK while still accounting for the Indian nationalist aspects of the dance, my contribution to the scholarly literature is to analyse its performance in relation to both Indian and British national identity. My research demonstrates that Indian classical dance is co-produced by both British and Indian national discourses and their respective cultural and political imperatives, even as the dance contributes to the formation of British, Indian and South Asian diasporic politico-cultural identities.

6

Blogg, Martin Howard. "Efficacy and the Arts with Special Reference to Contemporary Dance Theatre: The Ethical, Aesthetic and Spiritual - A Performative Discourse a view from Within: a Reflective Practitioner’s Revisionary Point of View." Thesis, Griffith University, 2013. http://hdl.handle.net/10072/365923.

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In that every form of knowing represents a way of en-acting, relating and being-in-the- world, every form of knowing has an ethical dimension and concerns efficacy. Contemporary research points to significant gaps in relation to the way the arts are presently perceived and justified. In the minds of many the arts have failed to develop an adequate public conception of their true significance. This thesis seeks to re-present, re-ground and re-vision the way we think about the arts; have the arts, and dance more specifically, re-cognized and re-legitimized in terms of their intrinsic and ethical nature, their own ‘form of life’. Today we think of the performing arts primarily in terms of entertainment and recreation, with little significance other than providing ephemeral and escapist pleasure, a gloss upon the surface of life, a harmless indulgence – one driven in the main by economics and politics rather than the internal and ethical energies of the forms themselves. Along with such authors as Abbs (1996, p.29), I see the arts as ‘indispensable vehicles for the development of human consciousness; a primary quest for meaning and understanding, apprehending and exploring reality’; at their most profound and typical, formally heuristic rather than merely hedonistic; and, ‘far from escaping life [they] have a way of drawing us into life, allowing us to participate more immediately and deeply in the basic stuff and process of life’ (Westerhoff 1981a, pp.5–15), re-minding artists and arts audiences, arts legislators and educators that beyond the functional and material there exists, as has always existed, a close alliance between aesthetic knowing and spiritual knowing; ‘an alliance not dictated merely by historical accident or practical need but one rooted in the very essence of both’ (Pope John Paul II 1999).
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium of Music
Arts, Education and Law
Full Text

7

Keefe, John. "A spectatorial dramaturgy : ethical principles of recycling, habitus and estrangement." Thesis, Kingston University, 2012. http://eprints.kingston.ac.uk/25507/.

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As I have prepared this Commentary, I have come to appreciate the values that exist between the conventions of doctoral research driven by a glimpsed destination and that which brings together previously published works. The particular, and perhaps peculiar, historiographical relationship between the works from 'then' and the Commentary from 'now', turns such research into both a reflection and opportunity to reconsider writing already 'out there'. One cannot re-write the works (although the concept of 're-working' is central to my view of the engaged spectator). But one can reflect on the perspectives that informed each original piece within a body of emerging work. A Commentary, then, becomes not only a process of revelation but also one of acknowledgment of differing circumstances of research, publication and style. The unchangeable outcomes of each published piece are thus seen in a different light, juxtaposition revealing not only advances in one's ideas but also the paradoxes and shifts in thinking that retrospection forces and allows. So a slightly declamatory approach in earlier work evolves into more measured tones, perhaps less shrill. But if we each strive to have our own 'voice', no matter how hard we try for a more mature style some of that driving rawness remains. It is an uncomfortable truth that the shrill, unformed but passionate youth lurks in the shadows. This form of Commentary, then, becomes a revisiting of works and ideas that may have lost some of their currency, or perhaps not (hence my reaching back to both my MA Dissertation and the MiP Report). It becomes an attempt to place each work as part of a series not originally intended as such but in which chosen themes, prejudices and preoccupations play an ever-shaping role. It becomes an attempt to place some posterior coherence, convenient and inconvenient, which emerges from a process of reflection and 'looking again'. It is this mixing and juxtaposition of past work and present position that demands one looks from the side as well as straight on. For this reason I use a relational form of past and present tense as a 'vocal' device to show the ongoing 'live-ness' of the themes and ideas and passions that mark the body of work. The Commentary is therefore exposition and critique, but also an expansion. It is a dynamic process embracing the title of the Commentary itself, becoming subject to inevitable reworking since first being registered. Its preparation has allowed the introduction of current research, new ideas and oblique musings that extend the concerns of the extant works, giving a sense of continuing coherence and possible trajectories. It becomes an attempt to accommodate where I was then with where I am now.

8

Porter, Nicholas James. "The Dark Carnival: the Construction and Performance of Race in American Professional Wrestling." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1308331340.

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9

Osborn, Shyla Elizabeth. "Hybrid spectacles: Performance and power in the circulation of Latinidad /." view abstract or download file of text, 2005. http://wwwlib.umi.com/cr/uoregon/fullcit?p3181119.

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Thesis (Ph. D.)--University of Oregon, 2005.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 264-268). Also available for download via the World Wide Web; free to University of Oregon users.

10

Schroeder, Janet Kathleen Schroeder. "Ethnic and Racial Formation on the Concert Stage: A Comparative Analysis of Tap Dance and Appalachian Step Dance." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1542702604510984.

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Книги з теми "Ethics and performing arts":

1

Mahawar, Niranjan. Performing arts of Chhattisgarh. New Delhi: Banyan Tree Books Pvt. Ltd., 2014.

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2

Albuquerque, Severino João Medeiros, and Kathryn Bishop-Sanchez. Performing Brazil: Essays on culture, identity, and the performing arts. Madison, Wisconsin: The University of Wisconsin Press, 2015.

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3

World Book, Inc. Fun with cultural crafts and performing arts. Chicago: World Book, Inc., 2011.

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4

Rønning, Helge. Media ethics: An introduction and overview. [Maputo, Mozambique]: Nordic SAC Journalism Centre, 1999.

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5

Gustafsson, Henrik, and Asbjørn Grønstad. Ethics and images of pain. New York, NY: Routledge, 2012.

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6

Downing, Lisa. Film and ethics: Foreclosed encounters. New York, NY: Routledge, 2009.

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7

National Endowment for the Arts. Folk Arts Program. and World Music Institute, eds. World classical performing arts: A meeting convened by the Fold Arts Program of the National Endowment for the Arts & co-ordinated by World Music Institute, Washington, D.C., June 27-28, 1991. New York, N.Y: Copies from World Music Institute, 1991.

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8

Ōshiro, Manabu. Ryūkyū, Okinawa no geinō: Sono keishō to sekai e hiraku kenkyū. 8th ed. Tōkyō: Sairyūsha, 2012.

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9

Śivaśaṅkar, Cakkere. Kannaḍa janapada kalāpravēśa. Beṅgaḷūru: Sāgar Prakāśana, 2006.

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10

Vyavahāre, Śarada. Lokarañjanācī pāramparika mādhyame. Auraṅgābāda: Svarūpa Prakāśana, 2002.

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Частини книг з теми "Ethics and performing arts":

1

Johanson, Katya, and Hilary Glow. "Ethics in audience research." In Routledge Companion to Audiences and the Performing Arts, 374–90. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003033226-28.

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2

Baumol, William J. "Performing Arts." In The World of Economics, 544–48. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21315-3_72.

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3

Baumol, William J. "Performing Arts." In The New Palgrave Dictionary of Economics, 1–4. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1057/978-1-349-95121-5_1706-1.

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4

Baumol, William J. "Performing Arts." In The New Palgrave Dictionary of Economics, 10203–6. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-349-95189-5_1706.

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5

Runco, Mark A. "Performing arts." In Encyclopedia of psychology, Vol. 6., 97–100. Washington: American Psychological Association, 2000. http://dx.doi.org/10.1037/10521-034.

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6

Giaretta, David. "Contemporary Performing Arts TestbedTestbed Contemporary Performing Arts Testbed." In Advanced Digital Preservation, 407–28. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-16809-3_22.

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7

Frey, Bruno S. "The Performing Arts." In Economics of Art and Culture, 53–61. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-15748-7_7.

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8

Latchem, Colin. "Traditional and Performing Arts." In Open and Distance Non-formal Education in Developing Countries, 55–60. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-10-6741-9_7.

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9

Hunsaker, Scott L. "Visual and Performing Arts." In Critical Issues and Practices in Gifted Education, 535–60. 3rd ed. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003233961-40.

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Andrews, Zoë Beardshaw. "Reframing the Performing Arts." In The SAGE Handbook of Digital Dissertations and Theses, 101–16. 1 Oliver's Yard, 55 City Road London EC1Y 1SP: SAGE Publications, Inc., 2012. http://dx.doi.org/10.4135/9781446201039.n7.

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Тези доповідей конференцій з теми "Ethics and performing arts":

1

Yan, Xiong, and Yijing Yue. "A Study on the Social Governance Function of Cultural Industry of the Directly-entering-socialism Ethnic Group Areas :A Case Study of Lao Dabao Happy Lahu Performing Arts Company of Lancang County." In 2016 International Conference on Public Management. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icpm-16.2016.58.

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2

Stolterman, Erik. "Session details: Performing arts." In CHI '11: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2011. http://dx.doi.org/10.1145/3249024.

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3

Miklavcic, Jimmy. "Collaborative performing arts---InterPlay." In the 2006 ACM/IEEE conference. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1188455.1188783.

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4

Masunah, Juju, Trianti Nugraheni, and Yudi Sukamayadi. "Building Performing Arts Community through Bandung Isola Performing Arts Festival (BIPAF) in Indonesia." In Proceedings of the International Conference on Arts and Design Education (ICADE 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icade-18.2019.39.

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5

Kallionpää, Maria. "Performing the Super Instrument:." In Electronic Visualisation and the Arts. BCS Learning & Development, 2016. http://dx.doi.org/10.14236/ewic/eva2016.7.

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6

Sukmayadi, Yudi, Juju Masunah, Ayo Sunaryo, and Martinus Miroto. "Creation of Intercultural Performing Arts for Virtual Stage of Bandung Isola Performing Arts Festival." In 4th International Conference on Arts and Design Education (ICADE 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220601.070.

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Torres, Diego, Alicia Diaz, Virginia Cepeda, and Facundo Correa. "Nodos: Semantic content on performing arts." In 2016 IEEE 11th Colombian Computing Conference (CCC). IEEE, 2016. http://dx.doi.org/10.1109/columbiancc.2016.7750802.

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8

Rakkolainen, Ismo, Tanju Erdem, Çiǧdem Erdem, Mehmet Özkan, and Markku Laitinen. "Interactive "immaterial" screen for performing arts." In the 14th annual ACM international conference. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1180639.1180692.

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Ford, Vince, and Munir Mandviwalla. "Can Digital Engagement Transform the Performing Arts?" In Hawaii International Conference on System Sciences. Hawaii International Conference on System Sciences, 2020. http://dx.doi.org/10.24251/hicss.2020.526.

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10

Trisakti, Eva Rahmawati, and Anik Juwariyah. "Performing Arts Appreciation Literacy In Millennium Era." In Proceedings of the 1st International Conference on Education Social Sciences and Humanities (ICESSHum 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icesshum-19.2019.48.

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Звіти організацій з теми "Ethics and performing arts":

1

Wilkerson, A. M., T. C. Abell, and E. Perrin T. LED Lighting in a Performing Arts Center. Office of Scientific and Technical Information (OSTI), July 2015. http://dx.doi.org/10.2172/1220538.

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2

Miller, N. J., S. M. Kaye, P. M. Coleman, A. M. Wilkerson, T. E. Perrin, and G. P. Sullivan. LED Lighting in a Performing Arts Building. Office of Scientific and Technical Information (OSTI), July 2014. http://dx.doi.org/10.2172/1221092.

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3

Ozdil, Taner R., James Richards, Ryan Brown, Justin Earl, and Dylan Stewart. AT&T Performing Arts Center: Sammons Park. Landscape Architecture Foundation, 2014. http://dx.doi.org/10.31353/cs0790.

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4

Milesi Ferretti, Natascha, Michael A. Galler, Steven T. Bushby, Robert W. Leader, J. Michael Whitcomb, and David W. Rush. Retro-commissioning a performing arts center using HVAC-Cx. Gaithersburg, MD: National Institute of Standards and Technology, February 2019. http://dx.doi.org/10.6028/nist.tn.2027.

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5

Miller, Naomi, Stan Kaye, Patricia Coleman, Andrea Wilkerson, Tess Perrin, and Gregory Sullivan. LED Lighting in a Performing Arts Building at the University of Florida. Office of Scientific and Technical Information (OSTI), July 2014. http://dx.doi.org/10.2172/1165331.

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6

Wilkerson, Andrea M., Thomas C. Abell, and Tess E. Perrin. University of Maryland Wall Washer Retrofit - LED Modules Replace Halogen Lamps in a Performing Arts Center. Office of Scientific and Technical Information (OSTI), August 2015. http://dx.doi.org/10.2172/1349994.

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7

Villanueva-Benito, I., and I. Lacasa-Mas. The use of audiovisual language in the expansion of performing arts outside theater: Don Giovanni’s case, by Mozart. Revista Latina de Comunicación Social, October 2017. http://dx.doi.org/10.4185/rlcs-2017-1217en.

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8

Ahmed AlGarf, Yasmine. From Self-Awareness to Purposeful Employment: Guiding Egyptian youth using arts-based learning. Oxfam IBIS, August 2021. http://dx.doi.org/10.21201/2021.7932.

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Анотація:

Alwan wa Awtar (A&A), a partner of the Youth Participation and Employment (YPE) programme, implements a youth programme supporting young people to shape their prospects through professional and soft skill development, safe learning space and non-formal education. A&A has learned important lessons throughout its journey. A safe learning environment, flexible learning techniques, visual and performing arts in education and participatory management are key approaches for successful youth programmes. During the COVID-19 period, many of the professional development programmes have been delivered online, which was a good example of adaptation to changing circumstances that ensured the sustainability and continued effectiveness of the programme.

9

Tom, Eileen. Social Constructs in Film Culture: The Effect of it on the Performing Arts, and the Destroyed Association of Signs to Enhance Meaning. Portland State University Library, January 2014. http://dx.doi.org/10.15760/honors.53.

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10

Ricker, R. E. Analysis of failed dry pipe fire suppression system couplings from the Filene Center at Wolf Trap Farm Park for the Performing Arts. Gaithersburg, MD: National Institute of Standards and Technology, 1994. http://dx.doi.org/10.6028/nist.ir.5389.

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