scholarly journals Performing with Plants in the Ob-scene Anthropocene

2020 ◽  
Vol 32 (1) ◽  
pp. 121-142
Author(s):  
Annette Arlander
Keyword(s):  
Performance Analysis ◽  
Performance Art ◽  
Performance Studies ◽  
Research Project ◽  
Performance Practices ◽  
Art Form ◽  
And Performance ◽  
Performance As Research ◽  
Artistic Research

Is there a way for the anthropocentric and anthropomorphic art form par excellence, the theatre, or performance art for that matter, to expand beyond their human and humanist bias? Is the term Anthropocene in any way useful for theatre and performance studies or performance-as-research? In the anthology Anthropocene Feminism (Grusin 2017) Rosi Braidotti proposes four theses for a posthumanist feminism: 1) feminism is not a humanism, 2) anthropos is off-center, 3) zoe is the ruling principle, 4) sexuality is a force beyond gender. These assertions can undoubtedly be put on stage, but do they have relevance for developing or understanding performance practices off-stage and off-center, such as those trying to explore alternative ways and sites of performing, like performing with plants? In this text, I examine Braidotti’s affirmative theses and explore their usefulness with regard to performance analysis, use some of my experiments in the artistic research project “Performing with plants” as examples, and consider what the implications and possible uses of these theses are for our understanding of performances with other-than-human entities, which we share our planet with.

scholarly journals The translator

2020 ◽  
pp. 1-19
Author(s):  
Gabriela Saldanha
Keyword(s):  
Performance Art ◽  
Performance Studies ◽  
Literary Translation ◽  
Self And Other ◽  
Art Form ◽  
And Performance

Abstract This article proposes that in order to understand the nature of literary translation as an art form, we need to complement existing approaches drawing on literary, linguistic and sociological theories with insights derived from performance studies. As a way of exploring what the theorization of translation as performance art could contribute to our understanding of literary translation, I map four basic tenets of performance as restored behavior (Schechner 1985) to two translators’ (Margaret Jull Costa and Peter Bush) accounts of their practice. The mapping is illustrated with writings by and interviews with the translators, focusing on four points of contact: the unresolved dialectal tension between self and other, the deliberate, rehearsed nature of decisions, the need for distance between original and performance/translation, and the role of the audience.

scholarly journals Large-scale music compositions and novel technology innovations – Summarizing the process of Voices of Umeå, an artistic research project

HumaNetten ◽  
2016 ◽  
pp. 107
Author(s):  
Anders Lind
Keyword(s):  
Large Scale ◽  
New Technology ◽  
Music Notation ◽  
Research Project ◽  
Performance Practices ◽  
Participatory Art ◽  
Technology Innovations ◽  
Analysis Of Results ◽  
And Performance ◽  
Artistic Research

Voices of Umeå was a three-year interdisciplinary artistic research project initiated in 2012 by the author. The main aim with the project was to explore new artistic possibilities for composition and performance practices within the field of contemporary art music. More specifically, artistic possibilities, which arises when non-professional performers regardless musical backgrounds enables to participate in the composition and performance processes. The idea was to develop and explore new pedagogical methods to involve non-professional performers by using new technology and combining knowledge from the fields of artistic and educational practices. Different aspects of participatory art were embraced in the artistic processes aiming towards three compositions, including two concerts and one exhibition. An action research model in three steps –planning, action and analysis of results inspired the methodology, where the analysis and experiences of each cycle within the project were affecting the further cycles of the project.This article reports from selected parts of the process of the project and contributes with new knowledge to the fields of animated music notation and participatory art.

The Philosophy of Theater

2020 ◽  
Author(s):  
Michael Y. Bennett
Keyword(s):  
Performance Studies ◽  
Ancient Greece ◽  
Audience Reception ◽  
The Past ◽  
Art Form ◽  
Theatrical Performance ◽  
Ontological Question ◽  
Dramatic Text ◽  
And Performance ◽  
The Relationship

Theater—i.e., traditional text-based theater—is often considered the art form that most closely resembles lived life: real bodies in space play out a story through the passage of time. Because of this, theater (or theatre) has long been a laboratory of, and for, philosophical thought and reflection. The study of philosophy and theater has a history that dates back to, and flourished in, ancient Greece and Rome. While philosophers over the centuries have revisited the study of theater, the past four decades in particular have seen a noted and substantial increase of scholarship investigating this intersection between philosophy and theater. “Philosophy of theater” is, on one hand, a “field” that is just starting to take shape and is barely over a decade old; on another hand, it is a recognized subfield both of aesthetics and of theater and performance studies. And finally, it is also an amorphous concept, either not yet fleshed out, or intentionally amorphous and proudly organic. Philosophy of theater is also sometimes referred to—or is argued to be subsumed, more broadly, in—“performance philosophy,” which also refers to a network of academics and practitioners that publishes a book series and a journal of the same name. Regardless of what it is called or how it is classified, scholarship has coalesced around some fundamental preoccupations, which are not too dissimilar to questions that arise in other philosophies of. . . (e.g., art, film, dance, etc.). The debates in philosophy of theater mostly fall into three of the main branches of philosophy: metaphysics, epistemology, and aesthetics. The major metaphysical debates center on an ontological question: What is theater? Epistemological studies tend to focus on audience reception and/or how meaning is made and/or transmitted. Finally, studies in aesthetics focus on two main questions: (1) What is theater as an art form? (2) What is the relationship between dramatic text and theatrical performance? This article is intentionally narrow in its scope, focusing on philosophy and theater traditions that came out of Greek theater and philosophy, in order to ensure a sufficient amount of depth, not (merely) breadth.

scholarly journals Hybridity in Transition

Te Kaharoa ◽  
2016 ◽  
Vol 9 (1) ◽  
Author(s):  
Eddie Madril
Keyword(s):  
Collaborative Work ◽  
Past Century ◽  
Performance Practices ◽  
Cultural Traditions ◽  
The Past ◽  
Art Form ◽  
Artist Educator ◽  
And Performance ◽  
Authentic Voice ◽  
Traditional Performance

In 1923 a paper was written to describe the traditional Hopi ceremonial ways. The phrase “hybridity in transition” was a descriptor of their process. This was a time when many aspects of Indigenous traditions including language, were illegal or prohibited in many ways. This paper and performance explores the evolution of pseudo-traditional performance practices over the past century. How can a culture maintain its core-values and essence, explicitly or embedded within new forms of presenting and representing its identity and authentic voice? Using empirical evidence, we journey through the transition from an art form a child participates in, the lifelong dancer, and to the artist-educator in order to justify creative modifications to traditions. How can cultural traditions be maintained and celebrated during times of suppression? How and why is tradition important to each generation as it faces major social influences? What is the value and power of collaborative work between tradition and modernity? How can an Indigenous culture explore, decolonize and empower its future thorough performance?

Two Masterpieces of Kūṭiyāṭṭam

2019 ◽  
Keyword(s):  
Performance Studies ◽  
Empty Space ◽  
Ritual Studies ◽  
Indian Culture ◽  
Art Form ◽  
South Indian ◽  
Hebrew University ◽  
And Performance ◽  
The University

Kūṭiyāṭṭam, India’s only living traditional Sanskrit theatre, has been continually performed in Kerala for at least a thousand years. The actors and drummers create an entire world in the empty space of the stage by using spectacular costumes and make-up and by an immensely rich interplay of words, rhythms, mime, and gestures. This volume focuses on Mantrāṅkam and Aṅgulīyāṅkam, the two great masterpieces of Kūṭiyāṭṭam. It provides fundamental general remarks and relates them to pan-Indian reflections on aesthetics, philology, ritual studies, and history. Authored by scholars and active Kūṭiyāṭṭam performers, this is the first attempt to bring together a set of sustained, multi-faceted interpretations of these masterpieces-in-performance. With an aim to open up this ancient art form to readers interested in South Indian culture, religion, theatre and performance studies, philology, as well as literature, this volume offers a new way to access a major art form of pre-modern and modern Kerala. The University of Tuebingen in Germany and the Hebrew University of Jerusalem in Israel were partners in a long-term project studying and documenting Kūṭiyāṭṭam performances, including initiating full-scale performances of major works in the classical repertoire. We have been, in particular, focusing on the study of the two major, complex and ancient works, Mantrāṅkam and Aṅgulīyāṅkam, both of which we have seen and recorded in full. The articles in this volume are one of the results. They are supplemented with video-clips of lecture demonstrations provided online.

scholarly journals Politics of Participation in Design Research: Learning from Participatory Art

Design Issues ◽  
2020 ◽  
Vol 36 (1) ◽  
pp. 59-76 ◽  
Author(s):  
Eva Knutz ◽  
Thomas Markussen
Keyword(s):  
Performance Art ◽  
Design Research ◽  
Research Project ◽  
Participatory Art ◽  
Nuanced Understanding ◽  
And Performance

In design research, critique has recently been voiced against the multiple ways the notion of participation is understood and practiced. Studies of performativity and performance art have been used to account for this methodological multiplicity. However, in this article, we argue that participation still has much to offer design research as a foundational concept, but that a more nuanced understanding is required. Further, we offer such an understanding by presenting three theories and methodologies from participatory art. The value of participatory art for design research will then be exemplified by a practice-based design research project exploring forms of patient democracy.

Ideologi Seni Rupa Indonesia Era 1990-an Pada Karya Tisna Sanjaya

Panggung ◽  
2014 ◽  
Vol 24 (2) ◽  
Author(s):  
Anggiat Tornado ◽  
H. Dadang Suganda ◽  
Setiawan Sabana ◽  
H. Reiza D. Dienaputra
Keyword(s):  
Performance Art ◽  
Installation Art ◽  
Research Result ◽  
Fine Art ◽  
Creative Work ◽  
Art Form ◽  
The People ◽  
Hermeneutic Approach ◽  
And Performance ◽  
Emic And Etic

ABSTRACT The 1990s was the spirit of the New Art Movement undeniable as the embryo of the development of art in the 1990s. Fine art combining all the art that developed (sculpture, painting and printma- king and performance art) by some of the artists who eventually become aesthetic choice. This re- search used emic and etic, semiotic and hermeneutic approach. The research result describes Tisna Sanjaya ideology in the process of creative work tends to raise the issue in this case social critic.Tisna Sanjaya more knows from the source which was appointed to be the theme of his work. Installation art and performace art are an art form that is recognized by Tisna that can communicate directly with the people who were subjected to his art. Tisna Sanjaya as an artist who has the inclination and ideology, art as follows: a) Awareness of the problems though art can not reply on the matter then and there, because art takes time to find the answer. b) Representation of the things that happen to be reported continuously up through artpeople can catch from the issues that are and have happened. Keywords: Ideology,  Art in The 1990’s, Tisna Sanjaya  ABSTRAK Era 1990-an adalah semangat Gerakan Seni Rupa Baru yang tak dapat dipungkiri sebagai embrio dari perkembangan seni rupa 1990-an. Seni rupa yang memadukan seluruh seni yang berkembangh (antara seni patung, seni lukis dan seni grafis dan performance art) berkembang dan mendapat tem- pat oleh beberapa seniman yang akhirnya menjadi pilihan estetikanya. Penelitian ini menggunakan pendekatan hermeneutik, semiotik dan etik dan emik.Hasil penelitian memaparkan ideology Tisna Sanjaya dalam proses kerja kreatifnya cenderung mengangkat persoalan kritik sosial.. Tisna Sanjaya sebagai seniman yang memiliki kecenderungan dan memiliki ideologi,  seni sebagai berikut: a) Penyadaran terhadap persoalan walaupun seni tidak dapat menjawab dari persoalan tersebut saat itu juga , karena seni membutuhkan waktu untuk me- nemukan jawabannya. b) Representasi dari hal yang terjadi yang harus dikabarkan terus menerus hingga lewat seni orang dapat menangkap dari persoalan yang sedang dan pernah terjadi. Kata kunci: Ideologi, Seni Era 1990-an, Tisna Sanjaya 

Butoh: Granting Art Status to an Indefinable Form

2021 ◽  
Author(s):  
◽  
Shane Caldwell
Keyword(s):  
Performance Art ◽  
Narrative Theory ◽  
Art Form ◽  
The World ◽  
Art Forms ◽  
And Performance

<p>Butoh is a kind of art, but exactly what kind of art is not so easy to see. While traditionally considered a type of dance, there are a number of butoh works that are not readily identifiable as dance works, if in fact they count as dance at all. Through the use of Noël Carroll’s narrative theory of art, I will show how butoh comes to be thought of as art even if it fails to match up exactly with any one pre-existing art form. I will show how the context in which butoh came into being is sufficient for granting butoh art status due to its relation to existing art forms. I compare butoh to its two most similar analogues, dance and performance art, and examine how it resembles and differs from each of them. I also show how the reason categorising butoh as only one kind of art form is problematic due to its being part of a non- Western aesthetic tradition that does not break the world up into such easily separable pieces.</p>

scholarly journals Listening to Performers’ Writings and Recordings

2016 ◽  
Vol 22 (3) ◽  
Author(s):  
Peter Kaminsky
Keyword(s):  
Performance Analysis ◽  
Performance Studies ◽  
The Cross ◽  
And Performance ◽  
Exclusive Focus

This essay offers a close analytical reading of Debussy’s 1904 song “Colloque sentimental.” Drawing on research in performance/analysis and performance studies that engages with performers’ discourse, I analyze not only Debussy’s score, but also commentaries on the song by Jane Bathori and Pierre Bernac, as well as Bathori’s and Bernac’s recordings. For an analyst, the cross-comparison of their respective commentaries and performances allows for rich interpretations of music and text that are unavailable from an exclusive focus on the score.

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