Présence en public : expérimenter la performance comme « théâtre »
DOI:
https://doi.org/10.13130/2039-9251/8748Abstract
Our proposal questions the participation of the public in the performance. An aspect which we are going to develop is the object of the performance as effective strategy which assures the success in one paradigm participative. The stage in three D of the performance is a space of meeting between the actor/performer and the spectator/performer. The stage in three D transforms the performative work into collective happening. We are going to study in particular examples from our performative/participative practice (as The Two Gullivers), but also from Marina Abramovic's practice.
Riferimenti bibliografici
AUSLANDER, Philip, Liveness : Performance in a Mediatized Culture, Routledge, London 2008.
BIESENBACH, Klaus (ed.), Marina Abramović: the artist is present, Museum of Modern Art, New York 2010
BIET, Christian, SCHECHNER, Richard, Reprendre les performances de l’Avant-Garde, « Agôn », Dossiers : La reprise comme monument, (2013), n°6, en ligne : http://agon.ens-lyon.fr/index.php?id=2778.
BROOK, Peter, L’espace vide, Écrits sur le théâtre (1968), trad. Christine Estienne et Franck Fayolle, Seuil, Paris 1977.
CLAUSEN, Barbara (dir.), After the Act - The (Re)Presentation of performance Art, MUMOK Theory Series No. 3, MUMOK Museum Moderner Kunst Stiftung Ludwig, Vienne et Verlag moderner Kunst Nürnbertg, Nürnberg, 2006.
DELEUZE, Gilles, Différence et répétition, Presses universitaires de France, Paris 1968.
DONIN, Nicolas, Quand l’étude génétique est contemporaine du processus de création : nouveaux objets, nouveaux problèmes, « Genesis » 31, 2010, p. 13-36, en ligne : http://genesis.revues.org/327.
HOFFMANN, Jens, Theater of Exhibitions, Sternberg Press, Berlin 2015, p. 9.
JONES, Amelia, Présence in Absentia : Experiencing Performance as Documentation, « Art Journal », vol. 56, n. 4, Winter 1997, p. 11-18 (http://www.jstor.org/stable)
KAPROW, Allan, Assemblage, Environnements & Happenings, Abrams, New York 1966.
KAPROW, Allan, L’art et la vie confondus, textes réunis par Jeff Kelley, traduction par Jacques Donguy, Centre Georges Pompidou, Paris 1996.
KIHM, Christophe, La performance à l'ère de son re-enactment, « Art Press » 2, n°7 Performances contemporaines, nov.dec.2007/janvier 2008, p. 20-29.
KIRBY, Michael, Happenings, an illustrated anthology, Dutton, New York 1965.
LICHTENSTERN, Christa, VIREY-WALLON, Aude, Picasso, Monument à Apollinaire : projet pour une humanisation de l’espace. Adam Biro, Paris 1990.
MARTEL, Richard (dir.), Art Action 1958-1998, Éditions Intervention, Québec 2001.
MEYER-HERMANN, Eva, PERCHUK, Andrew, ROSENTHAL, Stéphanie, Allan Kaprow : Art as Life, Thames & Hudson, Los Angeles 2008.
PANOFSKY, Erwin, Idea : Contribution à l’histoire du concept de l’ancienne théorie de l’art, Gallimard, Paris 1989.
PAVIS, Patrice, La mise en scène contemporaine : Origines, tendances, perspectives, Armand Colin, Paris 2011.
PHELAN, Peggy, The Onthology of Performance : The Representation without Reproduction, in Ead., Unmarked: The Politics of Performance, Routledge, Londres New York 1993, p. 146-166.
PIERROT, Anne Herschberg Chemins de l’œuvre, « Genesis » 30, 2010, p. 87-108, en ligne : http://genesis.revues.org/125.
SCHULMANN, Didier, Ateliers : l’artiste et ses lieux de créations dans les collections de la Bibliothèque Kandinsky, Centre Georges Pompidou Éditions, Paris 2007.
SZEEMANN, Harald, ESSL, Sammlung, Blut & Honig : Zukunft ist am Balkan = Blood & Honey : future’s in the Balkans, Ed. Sammlung Essl, Klosterneuburg 2003.
THE TWO GULLIVERS, Blessure, in : Absence et matérialité/Voisinages incertains, publié dans le cadre du Forum 2002 à l’UQAM, Montréal 2002, p. 19 et 25.
URSPRUNG, Philip, Allan Kaprow, Robert Smithson, and the Limits to Art, transl. Fiona Elliott, University of California Press, 2013.
Dowloads
Fascicolo
Sezione
Licenza
Gli autori che pubblicano su questa rivista accettano le seguenti condizioni:
1. Gli autori mantengono i diritti sulla loro opera e cedono alla rivista il diritto di prima pubblicazione dell'opera, contemporaneamente licenziata sotto una Licenza Creative Commons - Attribuzione - Condividi allo stesso modo 4.0 internazionale che permette ad altri di condividere l'opera indicando la paternità intellettuale e la prima pubblicazione su questa rivista.
2. Gli autori possono aderire ad altri accordi di licenza non esclusiva per la distribuzione della versione dell'opera pubblicata (es. depositarla in un archivio istituzionale o pubblicarla in una monografia), a patto di indicare che la prima pubblicazione è avvenuta su questa rivista.
3. Gli autori possono diffondere la loro opera online (es. in repository istituzionali o nel loro sito web) prima e durante il processo di submission, poiché può portare a scambi produttivi e aumentare le citazioni dell'opera pubblicata (Vedi The Effect of Open Access).
