FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W1989452552> ?p ?o ?g. }

• W1989452552 endingPage "110" @default.
• W1989452552 startingPage "108" @default.
• W1989452552 abstract "The Child Audience:Toward a Theory of Aesthetic Development Moses Goldberg (bio) During the past twenty years, I have observed around a million children attending theatrical presentations of one sort or another, from child performers attempting to impress their peers and parents in barely audible school assembly programs, to the world class artists of the famous Theatre for Young Spectators in Leningrad, the visually stunning confections of the Minneapolis Children's theatre Company, and the heartrending emotional truth of smaller professional companies from Czechoslovakia to Seattle. I have seen the old favorite titles—the Cinderella's and the Alice's —in dozens of interpretations, with budgets from zero to hundreds of thousands of dollars. I have seen children who saved their allowances to buy tickets, and those who were dragged off by parents or teachers, sometimes not even knowing where they were going or why. I have seen tears of laughter, and heard gasps of real pain. I have seen enough to convince me that there is something going on in that often darkened space when the performers repeat their lines and the audience tries to believe them. The pages which follow are not based on research, but on observation and intuition. My object is to form an understanding of a phenomenon I call aesthetic development. By development, I mean those changes in the individual organism which bring it from one level of ability to another, presumably higher, level. While aesthetics is much harder to define. I use the term to mean the ability of the human mind to respond to stimuli that aren't there as if they were. When we see a canvas depicting the full power of an ocean storm, we make a response that is cognitive—we recognize the scene; and emotional—we feel the power. Yet there is no ocean before us, it is merely pigment arranged carefully of a flat canvas. Somehow we have supplied enough information from our memory or imagination to complete the process begun by the person who arranged the pigments—the artist. This active mental process by the viewer is the aesthetic process. It can immediately be seen to be a process, like most mental processes, which allows of a range of individual differences; and which is subject to development. Artists arrange stimuli; audiences perceive stimuli. The aesthetic process mediates these perceptions; audience experiences something that was perhaps intended by the artist. But in the theatre, the stimuli are provided by whole teams of artists, and are of a complexity that approximates a real life situation. We get human behavior, language, locale, music, costume, symbolic use of properties, and other kinds of content. We get them all simultaneously; and we get them in real time, with no chance to go back and review. We are generally attending to one set of stimuli at a time, and we do so knowing that we are thereby missing other stimuli. If we watch a speaker to see how her behavior corresponds with her language, we cannot usually also watch a listener to evaluate his reaction to the words. (It is one of the Stage Director's main functions to ensure that the attention of the audience is directed to the onstage event of greatest import.) Because of this complexity, the advantage of developing aesthetic processing skills to a theatre audience member is significant; but the same complexity makes it hard to study this development. Only recently has a reliable instrument been created for categorizing the responses of children to theatre. While this instrument, as described by Patricia D. Goldberg, should make it much easier to identify steps in the developmental process, we must rely on observation to try to understand how the child develops these processes. If there is some truth to the notion that ontogeny recapitulates phylogeny, it should be useful to review some key stages in the development of the Western theatre from primitive cultures to today. Theatre seems to have grown out of the same basic human need as religion, and theatre and religion together took shape in primitive society as magical ritual. By acting out the capture of the buffalo, the primitive hunter increased his chances of actually catching..." @default.
• W1989452552 created "2016-06-24" @default.
• W1989452552 creator A5080069218 @default.
• W1989452552 date "1984-01-01" @default.
• W1989452552 modified "2023-10-17" @default.
• W1989452552 title "The Child Audience: Toward a Theory of Aesthetic Development" @default.
• W1989452552 cites W2043367906 @default.
• W1989452552 cites W317883501 @default.
• W1989452552 doi "https://doi.org/10.1353/chq.0.0315" @default.
• W1989452552 hasPublicationYear "1984" @default.
• W1989452552 type Work @default.
• W1989452552 sameAs 1989452552 @default.
• W1989452552 citedByCount "0" @default.
• W1989452552 crossrefType "journal-article" @default.
• W1989452552 hasAuthorship W1989452552A5080069218 @default.
• W1989452552 hasConcept C107038049 @default.
• W1989452552 hasConcept C111472728 @default.
• W1989452552 hasConcept C132010649 @default.
• W1989452552 hasConcept C138885662 @default.
• W1989452552 hasConcept C142362112 @default.
• W1989452552 hasConcept C144024400 @default.
• W1989452552 hasConcept C153349607 @default.
• W1989452552 hasConcept C15744967 @default.
• W1989452552 hasConcept C188147891 @default.
• W1989452552 hasConcept C2780775679 @default.
• W1989452552 hasConcept C2781238097 @default.
• W1989452552 hasConcept C29595303 @default.
• W1989452552 hasConcept C41895202 @default.
• W1989452552 hasConcept C50335755 @default.
• W1989452552 hasConcept C77805123 @default.
• W1989452552 hasConceptScore W1989452552C107038049 @default.
• W1989452552 hasConceptScore W1989452552C111472728 @default.
• W1989452552 hasConceptScore W1989452552C132010649 @default.
• W1989452552 hasConceptScore W1989452552C138885662 @default.
• W1989452552 hasConceptScore W1989452552C142362112 @default.
• W1989452552 hasConceptScore W1989452552C144024400 @default.
• W1989452552 hasConceptScore W1989452552C153349607 @default.
• W1989452552 hasConceptScore W1989452552C15744967 @default.
• W1989452552 hasConceptScore W1989452552C188147891 @default.
• W1989452552 hasConceptScore W1989452552C2780775679 @default.
• W1989452552 hasConceptScore W1989452552C2781238097 @default.
• W1989452552 hasConceptScore W1989452552C29595303 @default.
• W1989452552 hasConceptScore W1989452552C41895202 @default.
• W1989452552 hasConceptScore W1989452552C50335755 @default.
• W1989452552 hasConceptScore W1989452552C77805123 @default.
• W1989452552 hasIssue "3" @default.
• W1989452552 hasLocation W19894525521 @default.
• W1989452552 hasOpenAccess W1989452552 @default.
• W1989452552 hasPrimaryLocation W19894525521 @default.
• W1989452552 hasRelatedWork W2074111021 @default.
• W1989452552 hasRelatedWork W2118810419 @default.
• W1989452552 hasRelatedWork W2124493874 @default.
• W1989452552 hasRelatedWork W2613568553 @default.
• W1989452552 hasRelatedWork W2748952813 @default.
• W1989452552 hasRelatedWork W2783048286 @default.
• W1989452552 hasRelatedWork W2979360017 @default.
• W1989452552 hasRelatedWork W3185022517 @default.
• W1989452552 hasRelatedWork W4200196627 @default.
• W1989452552 hasRelatedWork W4210467436 @default.
• W1989452552 hasVolume "9" @default.
• W1989452552 isParatext "false" @default.
• W1989452552 isRetracted "false" @default.
• W1989452552 magId "1989452552" @default.
• W1989452552 workType "article" @default.