| GB
Performance Art
Performance is:
"behaviour, exagerated or enhanced to the point where it may become dysfunctional".
My working definition
could be extended to include the dysfunctional as a possible source of
performative behaviour. I see performance, or the performative action,
as the central, visible point in many life processes. We start something,
it develops, emerges into the light, outside our bodies, and then subsides,
disappears, dies.
The cycle repeats,
and repeats, but that 'emergence into the light', or appearance outside
the body, is I believe, the 'actually occurring act' or 'postupok' (in
Bakhtin's phrase (1), which is distinct from the theoretical,
descriptive actions of observers. Performance is not 'about' things, it
'is' something.
Performance, in
my view, does not have to be imitative, it is not necessarily the product
of mimesis, or acting.
Performance does
not always have an easily defined function.
In some historical
periods (for example the 'Middle Age'), performance was a necessary part
of life, one of the checks and balances that kept a modicum of fairness
in society. Before that, performance was magic, an essential part of medicine.
In the 1960s (and at other times) performance was an expression of dissent.
Today? We should
re-define performance, in the 1990s, in post-industrial society, in the
post-capitalist economy, in post cold-war politics.
Performance art
survives because it is an art-form with the capacity of freedom from the
market-place, and not harnessed to a specific ideology. It is the crafted
form of the phenomenon known simply as 'the performative'.
(1)
Mikhail BAKHTIN (1895-1975) Toward a Philosophy of the Act, trans. Vadim
LIAPUNOV 1993
Roland
MILLER, Sheffield, England; June 1996 |
RO
Performance Art
Performance-ul este:
"comportament exagerat sau excitat până la punctul unde poate deveni disfuncţional".
Definirea proprie
a muncii poate fi extinsă astfel încât să cuprindă disfuncţionalul, ca
posibilă sursă a comportamentului performativ. Văd performance-ul, sau
acţiunea performativă, ca un punct central, vizibil al multor procese de
viaţă. Începem ceva, se dezvoltă, vede lumina zilei în afara corpului nostru,
după care se linişteşte, dispare, moare.
Cercul se repetă
şi se repetă, dar "vederea luminei zilei" sau apariţia în afara corpului,
cred că este "o faptă ivită de fapt" sau "postupok" (în formularea lui
Bakhtin1), care se deosebeşte de acţiunea teoretică, descriptivă a observatorilor.
Performance-ul nu vorbeşte "despre" lucruri, performance-ul "este" ceva.
Performance-ul,
cred, nu trebuie să fie imitativ, nu este neapărat rezultatul mimării sau
interpretării.
Performance-ul
nu are mereu o funcţie uşor de formulat. În unele perioade istorice (de
exemplu în "evul mediu") performance-ul era o parte necesară a vieţii,
unul din factorii care asigurau echilibru şi stabileau bariere, o oarecare
echitate în societate. Înainte, performance-ul era magie, parte importantă
a vindecării. În anii 60 (dar şi în alte perioade) performance-ul slujea
la exprimarea poziţiilor divergente.
Azi? Trebuie să
redefinim performance-ul al anilor 90, din societatea postindustrială,
din economia postcapitalistă şi în politica de după 'războiul rece'.
Performance-art
dăinuie deoarece este o formă artistică care poate rămâne independentă
faţă de piaţă şi nu se află în jugul unei ideologii. Este forma profesională
a fenomenului cunoscut sub simplul nume de 'activ'. |
HU
Performance Art
A performansz: "viselkedés,
eltúlozva vagy felfokozva addig a pontig, ahol diszfunkcionálissá válhat".
Munkameghatározásomat
olymódon lehetne kiterjeszteni, hogy magába foglalja a diszfunkcionálisat,
mint a performatív viselkedés lehetséges forrását. Úgy látom a performanszt,
vagy a performatív cselekvést, mint sok életfolyamat központi, látható
pontját. Elkezdünk valamit, ez fejlődik, testünkön kívül napvilágot lát,
azután lecsillapodik, eltűnik, meghal.
A kör ismétlődik
és ismétlődik, de az a "napvilágot látás" vagy testen kívüli megjelenés,
úgy hiszem, a "tulajdonképpeni felbukkanó tett" vagy "postupok" (Bakhtin
megfogalmazásában1), amely különbözik a megfigyelők elméleti, leíró cselekvésétől.
A performansz nem a "dolgokról" szól, a performansz "valami".
A performansz,
véleményem szerint nem kell imitatív legyen, nem szükségszerűen mímelés
vagy eljátszás eredménye.
A performansznak
nem mindig van egy könnyen megfogalmazható funkciója. Egyes történelmi
időszakokban (például a "középkorban") a performansz az élet szükségszerű
része volt, egyike azoknak a korlátokat szabó és egyensúlyt biztosító tényezőknek,
melyek némi méltányosságot biztosítottak a társadalomban. Azelőtt a performansz
mágia volt, a gyógyítás egyik fontos része. Az 1960-as években (és máskor
is) a performansz az eltérő vélemény kifejezését szolgálta.
Ma? Újra kell definiáljuk
a performanszt az 1990-es években, a poszt-indusztriális társadalomban,
a poszt-kapitalista gazdaságban, a hidegháború utáni politikában.
A performansz művészet
azért marad fenn, mert egy olyan művészet-forma, amely képes a piactól
független maradni, és nincs egy ideológia igájába fogva. Mesterségbeli
formája az egyszerűen "cselekvő"-ként ismert jelenségnek |
