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The book “The Artist in Crisis: Kierkegaard’s philosophy of the aesthetic stage of existence and live musical performance” by Senyshyn (2013) describes how art has played a vital role in inspiring and channeling philosophy on the larger part in its own. I support the book Kierkegaard’s views when conferring about gender issues in art, anxiety, criticism, and art in the larger world. It should be noted that this text is a critical scholarly dissection that plays a vital role in opening the readers’ minds in different ways according to the views of the world and their important meanings. As a result, this paper reflects the book’s introductory part, including the first chapter. I can confidently support the fact that the book is a useful masterpiece for any college or community art collection and philosophy.
It is interesting to note that Kierkegaard was involved in art by playing in different great music halls. Some relevant key newspapers also reviewed him something which makes this manuscript one of the most helpful to the targeted audience. I support the idea that the manuscript’s content aims at motivating tutors, students and other individuals in the society when practicing art. It is an important helping script for any individual who likes and aspires to be an artist, including those who feel that they are not. It is because the content is encouraging and has coping policies to advance the creativity of the persons who have given up their performance practices. The author suggests that this feeling results from a decision to terminate the focus. I feel that this can occur because of the excruciating feelings that can sometimes be sublimated through various subterranean ways.
I am intrigued by the fact that every idea surrounded by real influence is said to have a actual existence. In other words, it can be said that this idea has a real stomach, feet, mouth, eyes, and a body at large. As a result, the idea can be termed as either female or male, and that is why it is capable of running after women or men. Understanding this aspect can be scrutinized by a soloist’s live performance, either in a concert or in a classroom. Notably, the nature of this immediate subjective and objective activity includes several possible philosophical ideas. In this case, I wonder how these elements can be connected to the full gamut of experience, ranging from the religious to the aesthetic circle. The nature of subjectivity is different from that of live performance objectivity. The author should seek to answer the question on how this notion creates a special interest for both scholars and performers.
I can employ the philosophy of aesthetics and subjectivity to provide important insights through which an individual, a scholar, or a performer can delineate vital philosophical elements concerning live musical performance. I wonder whether music exists in its performance moment, that is, when it is performed, just like when one skillfully reads notes and imagines them. I can argue that the narrator realizes that different prospective performers can note that a serious preparation for the occasion should precede their work. This is an important aspect that can be compared to the initiation time and the sort of baptism of the diverse ritual practices that are supposed to be carried out when there is a musical performance.
Notably, I think the effects of anxiety in the art include the frightful monsters that may include latent misery and individual insecurity. One of the key ways which I can employ in averting these problems is practicing with greater effect while keeping a sense of purpose. Sometimes the affected party needs to gain more confidence by talking positively about his fears regarding what they can do best when performing. For instance, an individual can state that they can play the piano extremely well on a particular occasion. This aspect, amongst other ways, can be an effective way of dealing with the psychological anxiety that can greatly affect performance when not properly dealt with. Another key way of ensuring a great performance is being smartly dressed to create excitement. Other minor but critical ideas to ensure a better live performance include shaving, dressing, and eating. In connection to this, I suggest that the perfection of art depends on the level and type of nervousness. As a result, it is always important for any artist to focus on a higher level of positive nervousness because it has the effect of an ultimate benefit to people.
Reference
Senyshyn, Y. (2013). The artist in crisis: Kierkegaard’s philosophy of the aesthetic stage of existence and live musical performance. Lulu Press, Inc.
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