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.
Downloads
References
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.
Downloads
How to Cite
Issue
Section
License
The authors who publish in Itinera are required to accept the following conditions:
1. The authors retain the rights on their paper and lincese the journal the right of first publication. The paper is also licensed under a Creative Commons License, which allows others to share it, by indicating intellectual authorship and its first publication in Itinera.
2. Authors may adhere to other non-exclusive license agreements for the distribution of the published version of the paper (ex. deposit it in an institutional archive or publish it in a monograph), provided that its first publication in Itinera is indicated.
3. Authors can disseminate their paper online (ex. in institutional repositories or on their website) before and during the submission process, since this can lead to productive exchanges and increase quotations of the published work (See “The Effect of Open Access”).


