Suchergebnisse

Die Geschichte von Performance und Kunst lässt sich vergleichen mit dem Interesse sozialwissenschaftlicher Forschung an Kulturkritik und Kommentierung. Verfahren und theoretische Anlehnung hierfür finde ich in der anthropologischen Feldforschung, die ich bemühe, um die Performance Salle C der in Montreal ansässigen Künstlerin Olivia BOUDREAU zu analysieren. Die Erforschung von Performances durch Ethnografie ermöglicht eine reflexive, kontext- und zeitabhängige Annäherung, die sowohl den Perspektiven der Künstler/innen als auch der Besucher/innen Rechnung trägt. Es geht dabei um Interpretationen, die nicht auf das traditionelle Feld formaler und materialer Kulturanalysen beschränkt sind, sondern eine ethnografische Annäherung an Performances und eine performative Wertschätzung von Publikum und Künstler/in beinhalten.

Television is video, video is television; they are part of the same technological dispositif. What is a video artist, if not a television producer without a channel at his disposal? The formal characteristics of much video art are hardly compatible with the dominant regime in TV programming; video art has developed its own modes of distribution, mostly based on tapes or DVDs sold in limited editions. In the 1970s, Rene Berger distinguished between macro-TV (broadcast television), meso-TV (local cable) and micro-TV (video); at most, some artists managed to infiltrate and utilize the meso level of local cable TV, whose democratic potential was never fully realized. While in general it failed to penetrate even this level, video art at its best pushed the logic of television to a point where the medium's potential and its failings, its complexity and its contradictions, were illuminated. Adapted from the source document.

Art as a social action in the public space is becoming more popular in various forms, especially in the digital space, and especially after the recent events that have had an effect on the whole world. However, theatre as art is changing its forms of accessibility not only due to global events but also due to the changing society from various aspects, i.e., psychological, social, economic, political, etc. The article provides a comparative analysis of the concepts of social art actions and performance art, presents the features of social art actions organisation in performance art organisations in Lithuania and abroad, determines the impact of social art action on human health from the psychosocial and spiritual point of view as well as in a community; it also provides a discussion of similarities and differences of performance as not only theatre but also performance art and social art, social art actions as performance art. Moreover, the article analyses how performance is compared to social art performance, how spectator and participant audiences manifest, what inclusion of performance art as a social art action into human spiritual-psychological space provides. The article provides an analysis of how performance art cooperates with performance art organisations.

Art as a social action in the public space is becoming more popular in various forms, especially in the digital space, and especially after the recent events that have had an effect on the whole world. However, theatre as art is changing its forms of accessibility not only due to global events but also due to the changing society from various aspects, i.e., psychological, social, economic, political, etc. The article provides a comparative analysis of the concepts of social art actions and performance art, presents the features of social art actions organisation in performance art organisations in Lithuania and abroad, determines the impact of social art action on human health from the psychosocial and spiritual point of view as well as in a community; it also provides a discussion of similarities and differences of performance as not only theatre but also performance art and social art, social art actions as performance art. Moreover, the article analyses how performance is compared to social art performance, how spectator and participant audiences manifest, what inclusion of performance art as a social art action into human spiritual-psychological space provides. The article provides an analysis of how performance art cooperates with performance art organisations.

Art as a social action in the public space is becoming more popular in various forms, especially in the digital space, and especially after the recent events that have had an effect on the whole world. However, theatre as art is changing its forms of accessibility not only due to global events but also due to the changing society from various aspects, i.e., psychological, social, economic, political, etc. The article provides a comparative analysis of the concepts of social art actions and performance art, presents the features of social art actions organisation in performance art organisations in Lithuania and abroad, determines the impact of social art action on human health from the psychosocial and spiritual point of view as well as in a community; it also provides a discussion of similarities and differences of performance as not only theatre but also performance art and social art, social art actions as performance art. Moreover, the article analyses how performance is compared to social art performance, how spectator and participant audiences manifest, what inclusion of performance art as a social art action into human spiritual-psychological space provides. The article provides an analysis of how performance art cooperates with performance art organisations.

Art as a social action in the public space is becoming more popular in various forms, especially in the digital space, and especially after the recent events that have had an effect on the whole world. However, theatre as art is changing its forms of accessibility not only due to global events but also due to the changing society from various aspects, i.e., psychological, social, economic, political, etc. The article provides a comparative analysis of the concepts of social art actions and performance art, presents the features of social art actions organisation in performance art organisations in Lithuania and abroad, determines the impact of social art action on human health from the psychosocial and spiritual point of view as well as in a community; it also provides a discussion of similarities and differences of performance as not only theatre but also performance art and social art, social art actions as performance art. Moreover, the article analyses how performance is compared to social art performance, how spectator and participant audiences manifest, what inclusion of performance art as a social art action into human spiritual-psychological space provides. The article provides an analysis of how performance art cooperates with performance art organisations.

Art as a social action in the public space is becoming more popular in various forms, especially in the digital space, and especially after the recent events that have had an effect on the whole world. However, theatre as art is changing its forms of accessibility not only due to global events but also due to the changing society from various aspects, i.e., psychological, social, economic, political, etc. The article provides a comparative analysis of the concepts of social art actions and performance art, presents the features of social art actions organisation in performance art organisations in Lithuania and abroad, determines the impact of social art action on human health from the psychosocial and spiritual point of view as well as in a community; it also provides a discussion of similarities and differences of performance as not only theatre but also performance art and social art, social art actions as performance art. Moreover, the article analyses how performance is compared to social art performance, how spectator and participant audiences manifest, what inclusion of performance art as a social art action into human spiritual-psychological space provides. The article provides an analysis of how performance art cooperates with performance art organisations.

Thomas Dreher ; Inhaltsverzeichnis ; Volltext // Exemplar mit der Signatur: München, Bayerische Staatsbibliothek -- PVA 2001.1589

Abstract
M.H.L. is a theatrical production dedicated to the first Slovak professional female director Magda Husáková-Lokvencová, which combines documentary theatre and performance. Sláva Daubnerová wrote the script and scene concept and is director and plays the sole character in the play. She portrays the private and professional life of M.H.L. in a chronologically sequenced and mosaic-like fashion. M.H.L. is portrayed as an educated, broad-minded and intelligent woman who knows her own mind. She graduated in law and then took up theatre direction. Her private and professional life represented a series of ups and downs. Initially happy at the side of her husband, Gustáv Husák—successful early on as a politician, and flourishing in the theatre, she later had to struggle to survive and make a comeback to the theatre. Performer Daubnerová, enhanced the performance by using video art and sound design as important elements in the production.

This article reflects on a creative work in Performance Art which has amalgamated the visual arts, theater and dance in a multiple conception, also involving the anthropological field research in its transdisciplinary perspective. The research was focused on the collaborative creative process of nine Performances that constituted the ExposiAção. The individual and, at the same time, collectivized experience of the artists contributed significantly to the definition of ethical, aesthetic and political choices which crossed the process as a whole. The difficulty of conceptualizing Performance is taken into account in this research, dueto the term's various possibilities of unfolding, especially in the multidisciplinar artistic universes. On the other hand, it posits itself as a diverse and plural space-time of the art-bodies, standing as a recurrent presence in contemporary art. The presente investigation still aims to approach the understanding of Performance as moment of a sensitive experience. ; Este artigo reflete sobre um trabalho de criação em Performance Arte que amalgamou as artes visuais, o teatro e a dança em uma concepção interartística envolvendo, ainda, a pesquisa de campo antropológica em sua perspectiva transdisciplinar. A investigação esteve focada no processo criador colaborativo de nove Performances que compuseram uma ExposiAção. A experiência individual e, simultaneamente, coletivizada dos artistas contribuiu significativamente para a definição das escolhas éticas, estéticas e políticas que atravessaram o processo como um todo. A pesquisa leva em consideração que a tentativa de conceituar a Performance é uma tarefa árdua devido à amplitude dos desdobramentos do termo, sobretudo nos universos artísticos multidisciplinares. Por outro lado, ela coloca-se como um espaço-tempo diverso e plural de corpos-arte, situando-se como presença recorrente na arte contemporânea. A presente investigação busca, ainda, fazer o recorte do entendimento de Performance como momento de uma experiência sensível.