Publicação
Testing the blending
| Resumo: | This paper intends to measure the plausibility and the explanatory traction of the notion of “conceptual blending” as an account of theatrical experience. First, by assessing its novelty as a new definition of what is specific to theatre as an art form, and a suitable alternative to Aristotelian and Brechtian conceptions. It seems that by placing conceptual integration as the basic theatrical experience and by reviewing role-playing as the cognitive foundation of theatre, the concept of blending allows us to reassess the importance of emotional empathy, or detachment, in theatre. In a given sense, emotional empathy or sympathy become just an ingredient of blending, albeit a very significant one. Second, we shall try to place theatrical blending side by side with other theories of art (namely, visual art) that portray artistic representation as a a kind of “shuttle” or “fusion” between configuration and content. In particular, we propose that theatrical blending works as a kind of “seeing in”. More recent developments of Wollheim’s concept – such as Bence Nanay’s – will be adapted to the experience of role-playing in order to test whether this constitutes a suitable analogy. |
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| Autores principais: | Moura, Vítor |
| Assunto: | Estética do teatro Fusão conceptual Humanidades::Filosofia, Ética e Religião |
| Ano: | 2016 |
| País: | Portugal |
| Tipo de documento: | comunicação em conferência |
| Tipo de acesso: | acesso aberto |
| Instituição associada: | Universidade do Minho |
| Idioma: | inglês |
| Origem: | RepositóriUM - Universidade do Minho |
| Resumo: | This paper intends to measure the plausibility and the explanatory traction of the notion of “conceptual blending” as an account of theatrical experience. First, by assessing its novelty as a new definition of what is specific to theatre as an art form, and a suitable alternative to Aristotelian and Brechtian conceptions. It seems that by placing conceptual integration as the basic theatrical experience and by reviewing role-playing as the cognitive foundation of theatre, the concept of blending allows us to reassess the importance of emotional empathy, or detachment, in theatre. In a given sense, emotional empathy or sympathy become just an ingredient of blending, albeit a very significant one. Second, we shall try to place theatrical blending side by side with other theories of art (namely, visual art) that portray artistic representation as a a kind of “shuttle” or “fusion” between configuration and content. In particular, we propose that theatrical blending works as a kind of “seeing in”. More recent developments of Wollheim’s concept – such as Bence Nanay’s – will be adapted to the experience of role-playing in order to test whether this constitutes a suitable analogy. |
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