Abstract
Performance draws on a uniquely wide range of disciplines and skills: electrics, electronics, architecture, carpentry, painting, graphic and scenic design, computing (for lighting and accounting), financial management, marketing, music, acoustics, acting, dancing, singing, and so on and so forth. Yet performance is not solely about displaying range: it is also concerned with aesthetic, intellectual and social integration. It encourages the integration of theory and practice; it combines psycho-motoric, affective and cognitive learning; it unites art with technology; it bonds performers with audiences. This combination of range and integration makes it the classic humanist discipline, which is why Lord Bacon so admired it.
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Notes
William Wycherley, The Country Wife, ed. John Dixon Hunt (London, 1973) p. 7.
Carl von Clausewitz, Vom Kriege, 19th Jubilee edn, ed. Werner Hahlweg (Bonn, 1980) pp. 1179–80.
Ben Jonson, Bartholomew Fair, New Mermaid edn, ed. Maurice Hussey (London, 1964) p. 9.
Cervantes, The Adventures of Don Quixote, J. M. Cohen (Harmondsworth, 1961).
Ibid., pp. 638–45 [pt II, chs 25–6].
Henry Fielding, Tom Jones (Harmondsworth, 1966) pp. 757–60 [bk XVI, ch. 5].
Schiller, Über naive und sentimentalische Dichtung, in Werke, II, 540–606.
Marshall McLuhan, Understanding Media (London, 1964) pp. 22–32. McLuhan’s summary of the effect of television is on pp. 308–37.
Raymond Williams, Drama in Performance (Harmondsworth, 1968) pp. 186–7.
Brauneck, Spieltexte der Wanderbühne, pp. 262–3.
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© 1987 Julian Hilton
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Hilton, J. (1987). Cheered and Checked: Performers and Audiences. In: Performance. New Directions in Theatre. Palgrave, London. https://doi.org/10.1007/978-1-349-18953-3_6
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DOI: https://doi.org/10.1007/978-1-349-18953-3_6
Publisher Name: Palgrave, London
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