Titlebook: Ethics and the Arts; Paul Macneill Book 2014 Springer Science+Business Media Dordrecht 2014 Aesthetics.Art.Bioethics.Dance.Ethics.Humaniti

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The Photograph Not as Proof but as Limitgraphic image persists. The myth of indexicality—the legacy of photograph as trace, as having a special relationship to the real—runs throughout photography discourse, specifically discourse about photographs of suffering and how viewers might respond ethically to them. In this chapter, Roland Barth

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Of Redemption: The Good of Film Experience’ These recent developments mark a change in cinema studies’ previous emphasis on concerns over film ontology and epistemology. Drawing from a range of ethical thinkers, such as Foucault, Derrida, Lacan, ?i?ek, Badiou, Deleuze, Levinas, and a number of feminist and queer theorists, this turn toward

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Movies and Medical Ethicsinical signs and symptoms of illness, recount medical history and scientific progress, and enhance understanding of research and medical practices. They provide instruments for highlighting contemporary social issues and society’s perception of health care, disease and medical ethics, as well as to

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Embracing the Unknown, Ethics and Dancey of the dancer (which adopts a mode of not-knowing), and two, the body that creates. According to these artists, the subject-dancer needs to make room for the body by getting out of the way. The idea that subjectivity is no longer central and that the body holds the key is not new. Nietzsche is ren

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Toward an Intersubjective Ethics of Acting and Actor Trainingcting and performance from the author’s dual perspectives as an artist who makes theatre . as a theorist who reflects on the work he creates. The essay reviews phenomenological approaches to intersubjectivity, how ethical issues have been raised in relation to theatre and the practices of making the

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Politics and Ethics in Applied Theatre: Face-to-Face and Disturbing the Fabric of the Sensibles and the ‘distribution of the sensible’ taken from Rancière. The concept of the face is used to suggest that intimate meetings between people, the primary ground of much performance practice, can create an ethical demand on a person that is both specific and general. Where the classic conception of

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in Performance: An Enigmatic Qualitypertory theatre had been under attack for being superficial and frivolous. These critiques were accompanied by significant shifts in ideas about the role of theatre, and changing notions about what constitutes good performance. There were a number of remarkable experiments in acting practices and in

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