Perform, Repeat, Record : Live Art in History by Amelia Jones

By Amelia Jones

Bringing jointly individuals from dance, theater, visible experiences, and artwork heritage, Perform, Repeat, Record addresses the conundrum of the way reside paintings is located inside of historical past.  Set except different paintings kinds in that it might by no means be played in just an analogous manner two times, ephemeral paintings exists either on the time of its staging and lengthy after within the stories of its spectators and their stories, in addition to in fabric gadgets, visible media, and textual content, all of which supply new severe percentages. one of the artists, theorists, and historians who contributed to this quantity are Marina Abramovic, Guillermo Gómez-Peña, Rebecca Schneider, Boris Groys, Jane Blocker, Carolee Schneemann, Tehching Hsieh, Orlan, Tilda Swinton, and Jean-Luc Nancy.

Show description

Read Online or Download Perform, Repeat, Record : Live Art in History PDF

Best performing arts books

American Idol: The Untold Story

The forex is fame,

and it's higher than money,

more wanted than power.

Each season American Idol gives you on a promise whose epic scope is exceptional within the annals of pageant: to take an unknown dreamer from the center of the US and switch her or him right into a real celebrity. It has develop into not just the largest exhibit on tv, however the greatest strength in all of leisure; its alumni dominate the recording charts and Broadway, win Academy Awards, and sweep up Grammys. in truth, American Idol has reshaped the very thought of celebrity.

But it didn't begin that manner. while the little making a song contest debuted as a summer time substitute at the U. S. airwaves, it was once packed among reruns and reasonably cheap filler. The promise that it should locate America's subsequent pop megastar produced a hearty around of laughs from the country's media critics. Now, a few ten years and thousands of documents later, nobody is laughing.

American Idol: The Untold tale chronicles the triumphs and travails, the harrowing behind the curtain drama and the nail-biting onstage battles that equipped this innovative express. during this revealing booklet, veteran journalist Richard Rushfield is going deeper contained in the circus than any reporter ever has. Candid interviews with Idol alumni, together with Simon Fuller and Simon Cowell, shed new gentle at the express that modified the leisure undefined. and since Rushfield had complete entry to the folks who created the convey, starred in it, and saved it atop the popular culture pyramid, this publication is the 1st to take american citizens behind the scenes and inform what has relatively been occurring at the world's such a lot watched and speculated-about level.

The Shape of Spectatorship: Art, Science, and Early Cinema in Germany (Film and Culture)

During this particularly wide-ranging research, Scott Curtis attracts our eye to the position of clinical, scientific, academic, and aesthetic remark in shaping smooth conceptions of spectatorship. concentrating on the nontheatrical use of movie know-how in Germany among the Nineties and international struggle I, he follows experts throughout disciplines as they debated and appropriated movie for his or her personal ends, negotiating the attention-grabbing, every now and then fraught courting among expertise, self-discipline, and professional imaginative and prescient.

La Estética del oprimido

«El ciudadano que desarrolla dentro de él al artista que es, aun sin saberlo, puede enfrentarse mejor a las industrias de l. a. palabra, del sonido y de l. a. imagen. El ciudadano que se deja ritualizar en los angeles obediencia se vuelve un ventrílocuo del pensamiento ajeno y un mimo de sus gestos. » Augusto Boal

«Actores somos todos nosotros, y ciudadano no es aquel que vive en sociedad: ¡es aquel que l. a. transforma! » Augusto Boal, Mensaje Internacional del Día Mundial del Teatro, 27 de marzo de 2009.

«Todos debemos hacer teatro para averiguar quiénes somos y descubrir quiénes podemos llegar a ser. » Augusto Boal

En los angeles Estética del oprimido (2006), revisada y actualizada por el autor poco antes de su muerte en 2009, Boal fundamenta los principios de su célebre e influyente método –el Teatro del Oprimido– en una estética viva, que descubre en cada ciudadano a un artista y le exhorta a manifestar esa capacidad para rebelarse contra el lenguaje impuesto por los mecanismos del poder.

Augusto Boal estudió arte dramático en los angeles Universidad de Columbia (Nueva York). El Teatro Invisible, el Teatro Foro, el Teatro Legislativo, el Teatro Imagen fueron algunos de los frutos de su incansable exertions de experimentación e investigación en torno a un nuevo lenguaje escénico. En 2009, poco antes de su muerte en Rio, fue nombrado embajador mundial del teatro por los angeles UNESCO. Además de los angeles Estética del oprimido, Alba ha publicado en esta colección sus obras Teatro del oprimido, Juegos para actores y no actores y El arco iris del deseo.

Powerhouse: The Untold Story of Hollywood’s Creative Artists Agency

An astonishing—and astonishingly entertaining—history of Hollywood’s transformation over the last 5 a long time as noticeable during the enterprise on the center of all of it, from the number one bestselling co-author of reside from ny and people men Have all of the enjoyable. the flicks you watch, the television indicates you love, the live shows and physical activities you attend—behind the curtain of the majority of those is an immensely strong and secretive company referred to as inventive Artists supplier.

Additional info for Perform, Repeat, Record : Live Art in History

Example text

11–18.  Ibid. p. 12.  Jacques Derrida, Archive Fever: A Freudian Impression, Chicago, Illinois: University of Chicago Press, 1996, p. 12.  Jacques Derrida, “Signature Event Context,” Limited Inc, Evanston, IL: Northwestern University Press, 1988 (1972). 35 I Theories and Histories Introduction Amelia Jones The modality of the event is a time of loss: as bodies, we are lost to it. 1 I n this eloquent, performative statement, performance artist and scholar Dominic Johnson cuts through the dilemmas posed by the live event in terms of its “presence” in history.

In the later decades of the twentieth-century, global cultures and art practices were transformed through rapid technological saturation. Performance became a paradigmatic modality of postmodern aesthetics, where interdisciplinarity, mediation, and self-reflexivity were its prevalent and resilient companion tropes. The 1990s resurgence of Body Art with its emphasis on the opening and materiality of the flesh, its reverberations of “traumatic” and “carnal” affects, was also accompanied in the West by a proliferation of live art and experimental theater practices deploying technologies of mediation and simulation, dense layering of texts, aesthetic techniques of self-interrogation, evident duplicity and haptic spectacle.

1–10. m. I was shot in the left arm by a friend. 22 long rifle. My friend was standing about fifteen feet from me. © Chris Burden. Courtesy Gagosian Gallery. ”2 (In relation to Slater’s notion that the photograph ultimately substitutes for reality, it is worth considering whether performance recreations based on documentation actually recreate the underlying performances or perform the documentation. ) 48 The Performativity of Performance Documentation Jon Erickson suggests that the use of black and white photography in classic performance documentation enhances photography’s reality-effect (for Erickson, color photographs assert themselves more strongly as objects in their own right).

Download PDF sample

Rated 4.63 of 5 – based on 8 votes

About admin