Improvisation as Art: Conceptual Challenges, Historical Perspectives

Cover
Contents
Acknowledgments
Introduction: On Conceptualizing Improvisation
1 Performance, Inventiveness and Improvisation: Theoretical Contentions
	1.1 Derrida’s Inventiveness
	1.2 Calculating Incalculability: The Neocybernetic Alternative
	1.3 From Iteration to Improvisation
2 Indescribability, Perfection, Unpredictability: Improvisation and Aesthetic Autonomy
	2.1 Instrumentalizing Improvisation? Johann Wolfgang von Goethe
	2.2 Improvisation and Aesthetic Autonomy
	2.3 Improvisation and Aesthetic Perfection: Karl Philipp Moritz
	2.4 Improvisation and the Artist-Genius
3 Staged Improvisation: The Generative Principles of Romantic Irony
	3.1 Reframing the Space of the Theater
	3.2 Staged Improvisation
	3.3 Romantic Principles of Artistic Production
	3.4 Social Bearings
4 Improvisation, Agency, Autonomy: Heinrich von Kleist and the Modern Predicament
	4.1 Facilitating Prohibitions
	4.2 Improvisation as Political Practice
	4.3 The Incalculability of Calculation
	4.4 Kleist’s Pedagogical Program
Conclusion: Experiencing Improvisation as Art
Works Cited
Index
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