Aili Bresnahan
University of Dayton
This paper formulates a Deweyan theory of performing arts practice that relies for its support on two main things: The unity Dewey ascribed to all intelligent practices (including artistic practice) and The observation that many aspects of the work of performing artists of Dewey’s time include features (“dramatic rehearsal,” action, interaction and habit development) that are part of Dewey’s characterization of the moral life. This does not deny the deep import that Dewey ascribed to aesthetic experience (both in art and in life), but it does suggest that we might use his theory of ethical practice in conjunction with his theory of art as experience in order to create a more robust and unified Deweyan theory of what the performing artist does.
Keywords Dewey  aesthetics  ethics  performing arts  practice
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DOI 10.2752/205393214x14083775794871
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References found in this work BETA

The Reflex Arc Concept in Psychology.John Dewey - 1896 - Psychological Review 3:357-370.
Art as Experience. [REVIEW]I. E. - 1934 - Journal of Philosophy 31 (10):275-276.

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Citations of this work BETA

Dewey's Aesthetics.Tom Leddy - unknown - Stanford Encyclopedia of Philosophy.
Toward an Aesthetics of Creative Practice.Aaron Stoller - 2017 - Journal of Aesthetics and Phenomenology 4 (1):45-56.

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