Performance and Authenticity in the Arts

doi:10.1017/CBO9780511520051

This book brings together a distinguished group of scholars from music, drama, poetry, performance art, religion, classics and philosophy to investigate the complex and developing interaction between performance and authenticity in the arts. The volume begins with a perspective on traditional understandings of that relation, examining the crucial role of performance in the Poetics, the marriage of art with religion, the experiences of religious and aesthetic authenticity, and modernist conceptions of authenticity. Several essays then consider music as a performative art. The final essays discuss the link of authenticity to sincerity and truth in poetry, explain how performance, as an authentic feature of poetry, embodies a collective effort, and culminate in a discussion of the dark side of performance - its constant susceptibility to inauthenticity. Together the essays suggest how issues of performance and authenticity enter into consideration of a wide range of the arts.

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Contents

Frontmatter
pp i-vi
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Contents
pp vii-viii
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List of Contributors
pp ix-ix
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Editors' Acknowledgments
pp x-x
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1 - Performance and authenticity
pp 1-12
- By Salim Kemal, Ivan Gaskell
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Part I - Performance, religion, and authenticity
pp 13-14
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2 - The Poetics of performance: the necessity of spectacle, music, and dance in Aristotelian tragedy
pp 15-48
- By Gregory Scott
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3 - The “confessing animal” on stage: authenticity, asceticism, and the constant “inconstancie” of Elizabethan character
pp 49-65
- By Peter Iver Kaufman
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4 - Art, religion, and the hermeneutics of authenticity
pp 66-94
- By Nicholas Davey
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Part II - Understanding, performance, and authenticity
pp 95-96
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5 - Understanding music
pp 97-113
- By Michael Tanner
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6 - Understanding music
pp 114-128
- By Malcolm Budd
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7 - Musical performance as analytical communication
pp 129-153
- By Fred Everett Maus
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8 - Performance authenticity possible, practical, virtuous
pp 154-174
- By Stan Godlovitch
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9 - Why is it impossible in language to articulate the meaning of a work of music?
pp 175-194
- By Joseph J. Kockelmans
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Part III - Authenticity, poetry, and performance
pp 195-196
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10 - Inauthenticity, insincerity, and poetry
pp 197-214
- By Alex Neill
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11 - Poetry's oral stage
pp 215-253
- By Peter Middleton
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12 - True stories: Spalding Gray and the authenticities of performance
pp 254-271
- By Henry M. Sayre
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Index
pp 272-274
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Performance and Authenticity in the Arts

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Contents

Frontmatter
pp i-vi

Contents
pp vii-viii

List of Contributors
pp ix-ix

Editors' Acknowledgments
pp x-x

1 - Performance and authenticity
pp 1-12

Part I - Performance, religion, and authenticity
pp 13-14

2 - The Poetics of performance: the necessity of spectacle, music, and dance in Aristotelian tragedy
pp 15-48

3 - The “confessing animal” on stage: authenticity, asceticism, and the constant “inconstancie” of Elizabethan character
pp 49-65

4 - Art, religion, and the hermeneutics of authenticity
pp 66-94

Part II - Understanding, performance, and authenticity
pp 95-96

5 - Understanding music
pp 97-113

6 - Understanding music
pp 114-128

7 - Musical performance as analytical communication
pp 129-153

8 - Performance authenticity possible, practical, virtuous
pp 154-174

9 - Why is it impossible in language to articulate the meaning of a work of music?
pp 175-194

Part III - Authenticity, poetry, and performance
pp 195-196

10 - Inauthenticity, insincerity, and poetry
pp 197-214

11 - Poetry's oral stage
pp 215-253

12 - True stories: Spalding Gray and the authenticities of performance
pp 254-271

Index
pp 272-274

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Performance and Authenticity in the Arts

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