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Articles de revues sur le sujet « Ethics and performing arts »

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Auteur : Grafiati

Publié le 22 juin 2023

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1

Manchester, Ralph A. « Biomedical Ethics in Performing Arts Medicine Research ». Medical Problems of Performing Artists 22, n^o 3 (1 septembre 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.

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2

Rabin, Colette L. « The Theatre Arts and Care Ethics ». Youth Theatre Journal 23, n^o 2 (28 octobre 2009) : 127–43. http://dx.doi.org/10.1080/08929090903281436.

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3

MAKEHAM, PAUL. « Performing the City ». Theatre Research International 30, n^o 2 (juillet 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.

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4

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

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Shaw, Rhonda. « Performing breastfeeding : embodiment, ethics and the maternal subject ». Feminist Review 78, n^o 1 (novembre 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, n^o 2 (1 février 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, n^o 4 (décembre 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, n^o 1+2 (juillet 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, n^o 4 (septembre 2020) : 451–64. http://dx.doi.org/10.1111/jaac.12757.

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10

Cubitt, Sean. « Rango, Ethics and Animation ». Animation 12, n^o 3 (novembre 2017) : 306–17. http://dx.doi.org/10.1177/1746847717729605.

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11

Mullis, Eric C. « Ought I Make Political Dance ? » Dance Research Journal 47, n^o 3 (décembre 2015) : 71–83. http://dx.doi.org/10.1017/s0149767715000364.

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This essay draws on personal experience as it investigates the intersection of ethics, political activism, and dance performance. It considers the manner in which artistic and ethical convictions can shape the critical reception of dance that intentionally engages social justice issues, and it draws on ethical theory in order to investigate the manner in which personal ethical beliefs can determine a dance artist's approach to such work.

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12

Starc, Mario. « Ethics and the Ethical Attitude ». Jung Journal 11, n^o 1 (2 janvier 2017) : 47–52. http://dx.doi.org/10.1080/19342039.2017.1262683.

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13

Duggan, Patrick. « Others, Spectatorship, and the Ethics of Verbatim Performance ». New Theatre Quarterly 29, n^o 2 (29 avril 2013) : 146–58. http://dx.doi.org/10.1017/s0266464x13000250.

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In this article Patrick Duggan interrogates The Paper Birds' 2010 production Others to explore the political and ethical implications of embodying the (verbatim) texts of others. Built from a six-month exchange of letters between the company and a prisoner, a celebrity (a very non-committal Heather Mills, apparently), and an Iranian artist, Others fuses live music with verbatim and physical theatre texts to investigate the ‘otherness’ of women from vastly divergent cultural contexts. With equal measures of humour and honesty the performance deconstructs these voices both to highlight their particular concerns and problems and to interrogate larger issues relating to ‘others’ with whom we have conscious or unconscious contact. The ethical implications of continuing or discontinuing the correspondences with the three women are explored, and trauma and embodiment theories are used alongside Lévinasian and Russellian theories of ethics to ask what an encounter with such others might teach us about ourselves, about the traumatized other and about the ethics of encounter within performance texts. Patrick Duggan is Lecturer in Theatre and Performance Studies at the University of Exeter. A practising director, he has also taught extensively in the UK and Ireland as well as in Germany and the United States. He is author of Trauma-Tragedy: Symptoms of Contemporary Performance (Manchester University Press, 2012) and co-edited Reverberations: Britishness, Aesthetics and Small-Scale Theatres (Intellect, 2013) and a special issue of the journal Performance Research ‘On Trauma’ (Taylor and Francis, 2011).

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14

Davis-Fisch, Heather. « Editorial : Accessibility, Aesthetics, and Ethics ». Canadian Theatre Review 176 (septembre 2018) : 100–101. http://dx.doi.org/10.3138/ctr.176.018.

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15

Sharp, Chris. « Jef Geys’s Art Making Ethics ». Afterall : A Journal of Art, Context and Enquiry 27 (mai 2011) : 77–84. http://dx.doi.org/10.1086/661613.

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16

Solomatina, Ira. « ‘New ethics’ in Russian fashion magazines : Discussing ‘western-ness’, Russian-ness and values ». International Journal of Fashion Studies 10, n^o 1 (1 avril 2023) : 3–18. http://dx.doi.org/10.1386/infs_00084_1.

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This article analyses the discourse around ‘new ethics’ in Russia’s two lifestyle and fashion publications – Vogue Russia and The Blueprint. The ‘new ethics’ is a vague term which, by the late 2010s in Russia, had come to refer to a whole spate of disparate initiatives, attitudes and ethical norms, including sustainability, diversity and inclusion, the #MeToo movement and anti-racist practices. Remarkably, the discourse around the ‘new ethics’ has gained currency at a time when the Russian state urges Russians to embrace ‘traditional values’ that are rooted in Orthodox Christianity. Employing qualitative analysis of texts and images this article demonstrates that, in Russian fashion and lifestyle magazines, the ‘new ethics’ discourse has emerged as a site for negotiating women’s and queer rights, ‘traditional’ and ‘western’ values, as well as Russian state politics, while simultaneously providing a way for the publications to disassociate themselves from the state-promoted values.

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17

Cho, Grace M. « Performing an ethics of entanglement instill present pasts:Korean Americansand the “Forgotten War” ». Women & ; Performance : a journal of feminist theory 16, n^o 2 (juillet 2006) : 303–17. http://dx.doi.org/10.1080/07407700600744725.

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18

Pradita, Tiaranti Dwi, Darmawati Darmawati et Herlinda Mansyur. « MANAJEMEN SENI PERTUNJUKAN DI SANGGAR PUTI LIMO JURAI KOTA BUKITTINGGI ». Jurnal Sendratasik 8, n^o 3 (1 mars 2019) : 8. http://dx.doi.org/10.24036/jsu.v7i3.103337.

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AbstractThe research aims to describe the Management of the performing arts in the workshop of Puti Limo Jurai Bukittinggi. Type of this research is descriptive research using qualitative methods. The main instrument in this study is the researchers themselves and supporting instruments such as assisted with writing instruments and cameras. The type of the data in the research is the primary data and secondary data. Engineering data collection done by the study of librarianship, observation/observation, interview and documentation. Technique of data analysis performed with the measures include: the reduction of the data, the presentation of data, conclusions and make a report. The results showed that Sangar Puti Limo Jurai still retain cultural values in the performing arts. As an organization that is engaged in the arts with a democratic system, where all the decisions taken based on the results of the mutual agreement. All the process is carried out by management as good as possible. System performance or the workings of the organization performing arts at Sanggar Puti Limo Jurai belongs to the semi professional performing arts organizations because the Sanggar Puti Limo has been working with the Kings ' management approach, both in terms of function or process. In terms of personal profession, and the members of the Sanggar Puti Limo Emblem also has a profession other than the workers of art. But in terms of their ethics remain subject to rules that have been set.Keywords: performing arts management

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19

Staat, Wim. « EVERYDAYNESS IN FILM ETHICS ». New Review of Film and Television Studies 5, n^o 2 (août 2007) : 231–48. http://dx.doi.org/10.1080/17400300701432944.

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20

Levitt, Laura. « Still Looking : Self-Love, Ethics, and Seeing Jewish ». TDR/The Drama Review 55, n^o 3 (septembre 2011) : 100–109. http://dx.doi.org/10.1162/dram_a_00100.

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21

Wiame, Aline. « Deleuze’s “Puppetry” and the Ethics of Non-human Compositions ». Maska 31, n^o 179 (1 septembre 2016) : 60–67. http://dx.doi.org/10.1386/maska.31.179-180.60_1.

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While the presence of marionettes and automata in contemporary performing arts can sometimes manifest the fear of a loss of life and humanity due to the mechanization of our societies, this article calls for a more constructivist approach to the question. With the help of Gilles Deleuze’s propositions about marionettes and Heiner Goebbels’ performance Stifters Dinge, this paper aims to show that puppets and automata are invitations to create and compose new possibilities of being, sensing, thinking and resisting in a world made of human and non-human elements that constantly mix.

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22

Fausty, Joshua. « Trinh T. Minh-ha : Essaying Ethics ». Afterall : A Journal of Art, Context and Enquiry 48 (septembre 2019) : 92–99. http://dx.doi.org/10.1086/706130.

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23

Afolabi, Taiwo, et Yasmine Kandil. « Editorial : Ethics and Socially Engaged Theatre ». Canadian Theatre Review 192 (1 novembre 2022) : 5–6. http://dx.doi.org/10.3138/ctr.192.001.

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24

Haines, Victor Yelverton. « No Ethics, No Text ». Journal of Aesthetics and Art Criticism 47, n^o 1 (1989) : 35. http://dx.doi.org/10.2307/431991.

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25

Eaton, Marcia Muelder, et Colin McGinn. « Ethics, Evil, and Fiction ». Journal of Aesthetics and Art Criticism 56, n^o 4 (1998) : 414. http://dx.doi.org/10.2307/432139.

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26

COOKE, BRANDON. « Ethics and Fictive Imagining ». Journal of Aesthetics and Art Criticism 72, n^o 3 (juin 2014) : 317–27. http://dx.doi.org/10.1111/jaac.12091.

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27

Laughlin, Thomas Mc. « The ethics of basketball ». Continuum 13, n^o 1 (avril 1999) : 13–28. http://dx.doi.org/10.1080/10304319909365780.

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28

Watson, Mary Ann. « Ethics in Entertainment Television ». Journal of Popular Film and Television 31, n^o 4 (janvier 2004) : 146–48. http://dx.doi.org/10.1080/01956051.2004.10662047.

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29

Gallagher, Kathleen, Scott Mealey et Kelsey Jacobson. « Accuracy and Ethics, Feelings and Failures : Youth Experimenting with Documentary Practices of Performing Reality ». Theatre Research in Canada 39, n^o 1 (janvier 2018) : 58–76. http://dx.doi.org/10.3138/tric.39.1.58.

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30

Alliez, Eric, et Brian Massumi. « Performing the Ethico-aesthetic Paradigm ». Performance Research 19, n^o 3 (4 mai 2014) : 15–26. http://dx.doi.org/10.1080/13528165.2014.935166.

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31

Hanna, Gay P., Pamela Saunders et Niyati Dhokai. « CREATING STRENGTH IN AGE : HARNESSING THE POWER OF ARTS AND HUMANITIES NETWORKS ». Innovation in Aging 3, Supplement_1 (novembre 2019) : S29. http://dx.doi.org/10.1093/geroni/igz038.110.

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Abstract Arts and Humanities networks harness social capital in the service of older populations creating strength in age. This symposium will feature presentations in aging, arts, education, health and humanities exemplifying enormous and often underutilized resources readily available to engage older people across the spectrum of aging to combat decline and frailty at cognitive and physiological levels. Presenters will describe innovative partnership projects such as Sound Health, an initiative developed by the National Institutes of Health and the John F. Kennedy Center for the Performing Arts to expand knowledge and understanding of how listening, performing, or creating music could be harnessed for health and well-being; hybrid arts and humanities in health programs based within medical systems such as the Center for Performing Arts in Medicine at Texas Medical Center: Houston Methodist promoting research/evaluation of arts inventions to improve overall quality of patient care; and, MedStar Georgetown Lombardi Arts and Humanities Program providing a continuum of support for older patients and their caregivers from diagnoses through treatment processes. A Georgetown University case study will be presented on how arts, ethics and humanities are necessary and ideal components of an interdisciplinary master’s degree program in aging studies to ensure understanding a diverse and inter-generational cohort and student’s cultural value systems. The symposium will conclude with a presentation from the National Endowment of the Arts describing program service infrastructures across the country supporting arts engagement of older people, their families and caregivers focusing on lifelong learning; health and well-being; and age friendly design

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32

Gallagher, Kathleen. « Pondering ethics ». Research in Drama Education : The Journal of Applied Theatre and Performance 11, n^o 1 (février 2006) : 96–98. http://dx.doi.org/10.1080/13569780500437606.

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33

Žeželj, Tery. « Dramaturgy as a more-than-human practice ». Maska 37, n^o 3 (1 décembre 2022) : 64–77. http://dx.doi.org/10.1386/maska_00130_1.

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This article is built with excerpts from the MA thesis written in the program Contemporary Theatre, Dance, and Dramaturgy at Utrecht University titled ‘More-ThanHuman Practices: Feminist Ecological Potentials of Working With More-Than-Humans in the Performing Arts.’ The thesis was finished in August 2021 under the supervision of Konstantina Georgelou. The theoretical framework takes feminist discourse on water from Mielle Chandler and Astrida Neimanis’s article ‘Water and Gestationality: What Flows Beneath Ethics’ as a departure point to conceptualize more-than-human collaborations in the performing arts and to generate grounds for articulating ethics that enable responsivity to the entanglements with ‘natural others.’ This framework is intertwined with the discourse on dramaturgy to reapproach the practice of dramaturgy through collaborations and articulate it as a shared practice and collective thinking that emerges from the relations between diverse bodies. The text maps some of the main aspects and challenges posed by co-working with more-than-humans by drawing on the two longer artistic practices and researches, Rooted Hauntology Lab by Ingrid Vranken, potted plants, and ghosts, and Cosmologies of Attention and Spectatorship, practice-based research by Julia Willms and Andrea Božić in collaboration with the Moon.

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34

Handler, Kristin. « Sexing "The Crying Game" : Difference, Identity, Ethics ». Film Quarterly 47, n^o 3 (1994) : 31–42. http://dx.doi.org/10.2307/1212957.

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35

Baek, Jin. « Climate, Sustainability And The Space Of Ethics ». Architectural Theory Review 15, n^o 3 (décembre 2010) : 377–95. http://dx.doi.org/10.1080/13264826.2010.497181.

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36

MacDonald, Scott. « An Ethics and an Aesthetics of Interviewing ». Cinema Journal 47, n^o 2 (2008) : 123–29. http://dx.doi.org/10.1353/cj.2008.0002.

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37

Handler, Kristin. « Sexing "The Crying Game" : Difference, Identity, Ethics ». Film Quarterly 47, n^o 3 (avril 1994) : 31–42. http://dx.doi.org/10.1525/fq.1994.47.3.04a00040.

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38

Das, Jareh. « On Curating Pain : The Sick Body in Martin O’Brien’s Taste of Flesh/Bite Me I’m Yours ». Leonardo 49, n^o 3 (juin 2016) : 266–67. http://dx.doi.org/10.1162/leon_a_01274.

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This article discusses the “sick body” in performance art and ethics, specifically in Taste of Flesh/Bite Me I’m Yours (2015) by London-based artist Martin O’Brien, which was commissioned by the Arts Catalyst as part of Trust Me, I’m an Artist, a Creative Europe-funded project exploring ethical issues in art that engages with biotechnology and medicine, such as medical self-experimentation, extreme body art and art practices using living materials and scientific process. It considers the bodily categorization “sick,” particularly in relation to when the markers for such categorization are rendered invisible through illnesses—in this context, cystic fibrosis. Through the performance of this illness, important ethical questions are raised for the performing sick body, including complicity, subjectivity and the situation-behavior dynamics present between a performer and an audience.

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39

Dow, Suzanne. « Beckett's Humour, from an Ethics of Finitude to an Ethics of the Real ». Paragraph 34, n^o 1 (mars 2011) : 121–36. http://dx.doi.org/10.3366/para.2011.0009.

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This article explores the ethics of Samuel Beckett's humour. It takes issue with the dominant reading of Beckettian humour as the redemption of a negativity occasioned by humanity's finitude. The paradigmatic case in point is here taken to be Simon Critchley's account, wherein ethics is cast as a process of coming to terms with disappointment ensuing from the inaccessibility of the Kantian Thing-in-Itself. This article takes up a Lacanian psychoanalytic perspective to recast Beckett's humour as, far from offering solace for finitude, highlighting instead the excess or remainder that insists, and resists philosophy's attempts to sublate it into a version of the Good. As such, the ethical demand evoked by Beckettian humour is not the attenuation of the disappointing lack implied by finitude, but rather a coping with the egregious excess of inhuman infinitude.

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40

Lannen, Maud. « Touching across : Performing new dance ecologies through dialogical choreographies ». Journal of Dance & ; Somatic Practices 14, n^o 2 (1 décembre 2022) : 165–82. http://dx.doi.org/10.1386/jdsp_00085_1.

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Postmodern dance and somatics have foregrounded the sense of touch via the skin as a subject of inquiry and a catalyst for change, nowhere more so than in Paxton’s Contact Improvisation (CI). Touch continues to be explored choreographically, beyond CI, in contemporary dance to increasingly stage more daring, excessive sensuality and erotics between performers and performers/audience for mainstream theatre. Such tactile strategies and displays, I suggest, raise timely questions about the politics of touch and what touch constitutes. This article is the second instalment of a wider research project that attempts to unsettle Global North and the dance discipline’s presuppositions about physical contact. Here, I build upon one of Paxton’s lesser-known theoretical influences that spurred the development of CI, namely his research into mother–child touch communication and ask: how might a feminist reassessment of maternal relationality – its haptics – generate new knowledge about touch and neo-liberal economy? How might such reconception move us towards different bodily practices and ethics grounded in the twenty-first century in dance and beyond?

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41

Chouliaraki, Lillie, et Bolette B. Blaagaard. « Special Issue : The ethics of images ». Visual Communication 12, n^o 3 (8 juillet 2013) : 253–59. http://dx.doi.org/10.1177/1470357213483228.

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42

Lash, Dominic. « Encounters with Godard : ethics, aesthetics, politics ». Studies in European Cinema 16, n^o 2 (8 août 2017) : 165–67. http://dx.doi.org/10.1080/17411548.2017.1363494.

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43

Spiller, Neil. « Ethics, Architecture and Little Soft Machinery ». Architectural Design 78, n^o 6 (novembre 2008) : 94–97. http://dx.doi.org/10.1002/ad.780.

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44

McEvoy, William. « Finding the Balance : Writing and Performing Ethics in Théâtre du Soleil’s Le Dernier Caravansérail (2003) ». New Theatre Quarterly 22, n^o 3 (11 juillet 2006) : 211–26. http://dx.doi.org/10.1017/s0266464x0600042x.

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Théâtre du Soleil’s latest production, Le Dernier Caravansérail (The Last Caravanserai), staged the stories and experiences of immigrants, refugees, and asylum-seekers from around the world. In this article, William McEvoy argues that the company was motivated both by a political agenda to make migrants more visible and a concern to investigate the ethical implications of its own creative processes. This led to a potential conflict between representing migrants directly on stage and a performance that reflected the company’s worries about turning migrants’ traumatic narratives into theatre and spectacle. Focusing on the concept of balance in the production, the article shows how Théâtre du Soleil presented the ethical negotiations between creative self and represented other through exploring the links between text and performance, writing and the body, and manipulation and resistance. William McEvoy is a lecturer in the English Department at the University of Sussex, specializing in contemporary theatre and performance. He has published work on Peter Brook and Ariane Mnouchkine, and his current research deals with the shifting role of the text in experimental and physical theatre.

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45

Eaton, Marcia Muelder. « Aesthetics : The Mother of Ethics ? » Journal of Aesthetics and Art Criticism 55, n^o 4 (1997) : 355. http://dx.doi.org/10.2307/430923.

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46

CARLSON, ALLEN. « Environmental Aesthetics, Ethics, and Ecoaesthetics ». Journal of Aesthetics and Art Criticism 76, n^o 4 (septembre 2018) : 399–410. http://dx.doi.org/10.1111/jaac.12586.

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47

Allen, Arthur. « New Directions in Architectural Ethics ». Journal of Architectural Education 56, n^o 4 (mai 2003) : 68. http://dx.doi.org/10.1162/104648803321673013.

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48

EATON, MARCIA MUELDER. « Aesthetics : The Mother of Ethics ? » Journal of Aesthetics and Art Criticism 55, n^o 4 (1 septembre 1997) : 355–64. http://dx.doi.org/10.1111/1540_6245.jaac55.4.0355.

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49

MULLIS, ERIC C. « The Ethics of Confucian Artistry ». Journal of Aesthetics and Art Criticism 65, n^o 1 (janvier 2007) : 99–107. http://dx.doi.org/10.1111/j.1540-594x.2007.00241.x.

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50

Egan, Kathryn Smoot. « The Ethics of Entertainment Television ». Journal of Popular Film and Television 31, n^o 4 (janvier 2004) : 158–66. http://dx.doi.org/10.1080/01956051.2004.10662049.

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