The sensory Performance grounded on the Primacy of just one Sense and its synesthetic Interpretation

Authors

  • Polina Dubchinskaia Université de Paris 1 Panthéon-Sorbonne

DOI:

https://doi.org/10.13130/2039-9251/8717

Abstract

This study will focus on analyzing the content of the texts of some monosensory performances. Through this research we will discuss how the performance is perceived by the audience. The dominant direction chosen by the artist for his/her performance, does it always correspond to that used by the spectator ? Is there an association of senses that can be established by a monosensory performance ? How cultural and sociological connotations of senses used for this or that performance contribute to a critical interpretation of performance?

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References

Corpus (performances) :

Vito Acconci, Seedbed (1972).

Valie Export, Tapp und Tastkino (1968).

Gina Pane, Partitions, Action sentimentale et Action Escalade non-anesthésiée (1971-1985).

Marina Abramovic The Artist Is Present (2010).

Études :

BRODSKY, Joseph, Acqua alta (Watermark, 1992), trad. de l’anglais par B. Coeuré et V. Schiltz, Gallimard, Paris 1992,

TCHUHKROV, K., Corps comme un excès politique, « Theory&Practice », octobre 2013, http://theoryandpractice.ru/pots/7643-vali-ekhport, consulté le 26 octobre 2016.

SMITH, R., Kinaesthesia and Touching Reality//Interdisciplinary Studies in the Long Nineteenth Century, publié le 21 octobre 2014, http://www.19.bbk.ac.uk/articles/10.16995/ntn.691/, consulté le 26 octobre 2016

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How to Cite

Dubchinskaia, P. (2017). The sensory Performance grounded on the Primacy of just one Sense and its synesthetic Interpretation. Itinera, (13). https://doi.org/10.13130/2039-9251/8717

Issue

No. 13 (2017)

Section

Modalità di evocazione e di presenza della sensorialità a teatro

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