Performance Visual Art And Performance Art

This research project investigates the concepts of absence across the disciplines of theatre, visual art, and performance. Absence in the centre of an ideology frees the reader from the dominant meaning. The book encourages active engagement with theatre theory and performances. Reconsideration of theories and experiences changes the way we engage with performances, as well as social relations and traditions outside of theatre. Sylwia Dobkowska examines and theorises absence and presence through theatre, performance, and visual arts practices. This book will be of great interest to students and scholars of theatre, visual art, and philosophy.

First published in 1979, the latest edition of this pioneering study in "the World of Art" series surveys a full century of performance, from the Futurist manifesto of 1909 to the second decade of the new millennium. Art historian and gallery curator Rose Lee Goldberg explains how a medium once used only in sporadic outbreaks of artistic dissent has become, over the course of a century, a vital and integral part of the contemporary mainstream and a global phenomenon.

This finely illustrated book offers a simple yet comprehensive 'grammar' of a new discipline. Performance Art first became popular in the fifties when artists began creating 'happenings'. Since then the artist as a performer has challenged many of the accepted rules of the theatre and radically altered our notion of what constitutes visual art. This is the first publication to outline the essential characteristics of the field and to put forward a method for teaching the subject as a discipline distinct from dance, drama, painting or sculpture. Taking the theory of primary and secondary colours as his model, Anthony Howell posits three primaries of action and shows how these may be mixed to obtain a secondary range of actions. Based on a taught course, the system is designed for practical use in the studio and is also entertaining to explore. Examples are cited from leading performance groups and practitioners such as Bobbie Baker, Orlan, Stelarc, Annie Sprinkle, Robert Wilson, Goat Island, and Station House Opera. This volume, however, is not just an illustrated grammar of action - it also shows how the syntax of that grammar has psychoanalytic repercussions. This enables the performer to relate the system to lived experience, ensuring a realisation that meaning is being dealt with through these actions and that the stystem set forth is more than a dry structuring of the characteristics of movement. Freud's notion of 'transference' and Lacan's understanding of 'repetition' are compared to a performer's usage of the same terms. Thus the book provides a psychoanalytic critique of performance at the same time as it outlines an efficient method for creating live work on both fine art and theatre courses.

By RoseLee Goldberg. Photos by Paula Court. Introduction by RoseLee Goldberg. Edited by Jennifer Liese. Text by RoseLee Goldberg, Defne Ayas, Lia Gangitano, Sofia Hernandez Chong Cuy, Anthony Huberman, Lyra Kilston, Andrew Lampert, Christian Rattemeyer.

This book, the first devoted to the history and contemporary forms of Irish performance art in the north and south of Ireland, brings together contributions by prominent Irish artists and major academics. It features rigorous critical and theoretical analysis as well as historical commentaries that provide an absorbing sense of the rich histories of performance art in Ireland. Presenting diverse visual documentation of performance art practices, this collection shows how performance art in Ireland engaged with – and in turn influenced and led – contemporary performance and Live Art internationally. Co-published with Live Art Development Agency.

Artists especially from dance and performance art as well as opera are involved to an increasing degree in the transfer between different media, not only in their productions but also the events, materials, and documents that surround them. At the same time, the focus on that which remains has become central to any discussion of performance. Performing Arts in Transition explores what takes place in the moments of transition from one medium to another, and from the live performance to that which "survives" it. Case studies from a broad range of interdisciplinary scholars address phenomena such as: The dynamics of transfer between the performing and visual arts. The philosophy and terminologies of transitioning between media. Narratives and counternarratives in historical re-creations. The status of chronology and the document in art scholarship. This is an essential contribution to a vibrant, multidisciplinary and international field of research emerging at the intersections of performance, visual arts, and media studies.

Making connections between drama and drawing, Drawing as Performance introduces visual artists and designers to rehearsal techniques, theory, and games as ways of developing image-making and visual communication skills. Drawing from the fields of theatre and anthropology, this book is full of practical exercises that encourage experimentation and play as methods of making expressive, communicative, and meaningful images. Ideas are adapted from the rehearsal room to the drawing studio, offering artists a fresh approach to translating experiences into visual images. Games and exercises are accompanied by demonstrations and responses from professional practitioners and visual communication students. This one-of-a-kind book guides students and professionals alike to improvisation, self-expression, and reflective visual communication techniques in order to narrow the gap between the handmade image and inner experience from which artists draw their inspiration.

An accessible primer for art students or researchers new to phenomenology. This book introduces the study and application of performance art through phenomenology, inviting readers to explore contemporary performance art and activate their own practices. Using queer phenomenology to unpack the importance of a multiplicity of self/s, the book teaches readers how to be academically rigorous when capturing embodied experiences. Through approachable exercises, definitions of key phenomenological terms, and interviews and insights from some of the best examples of transgressive performance art practice, the work enriches the wider scholarship of theater studies. Situated within contemporary phenomenological scholarship, the book will appeal to radical artists, educators, and practitioner-researchers.