Reconstructing Performance Art
Practices of Historicisation, Documentation and Representation
- 256 pages
- English
- ePUB (mobile friendly)
- Available on iOS & Android
Reconstructing Performance Art
Practices of Historicisation, Documentation and Representation
About this book
This book investigates the practices of reconstructing and representing performance art and their power to shape this art form and our understanding of it.
Performance art emerged internationally between the 1960s and 1970s crossing disciplinary boundaries between performing arts and visual arts. Because of the challenge it posed to the ontologies and paradigms of these fields, performance art has since stimulated an ongoing debate on the most appropriate means to document, preserve and display it. Tancredi Gusman brings together international scholars from different disciplinary fields to examine methods, media, and approaches by which this art form has been represented and (re)activated over time and its transnational history reconstructed. Through contributions and case studies spanning various countries, regions and artistic fields, the authors outline an innovative theoretical-methodological framework for capturing the processes and strategies for transmitting the tangible and intangible heritage of performance art.
This book will be of great appeal to students, researchers, and practitioners in the fields of Theatre and Performance Studies as well as Visual Arts and Art History, who have an interest in performance art, its history and presence in the contemporary artistic and cultural landscape.
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Information
Table of contents
- Cover
- Half Title
- Series Page
- Title Page
- Copyright Page
- Table of Contents
- List of Contributors
- Acknowledgments
- Disclaimer
- Introduction: On the Present of Past Performance: Investigating the Practices of Reconstructing and Representing Performance Art
- PART I Reframing the Past: Histories and Historiographies of Performance Art
- 1 Mapping the Emerging Historiographies of Performance Art in East-Central Europe
- 2 The 1968 Aesthetic and Political Radicalization in the Argentinian Avant-Garde
- 3 Collective Memory and Live Art: The Methodology of Performance Chronicle Basel
- 4 The Historical Roots of āPerformative Theaterā: The Italian Post-Avant-Garde
- PART II Unfolding the Action: Media and Documents of Performance Art
- 5 How Records and Documents Become Art: The Role of Documentation in the Preservation, Exhibition and Experience of Performance Art
- 6 Performance Documentation: Ephemerality, Temporality, Authenticity
- 7 Book as Archive of Performance Art and Source Material of Its History
- 8 Listening to the Histories of Performance Art
- PART III Representing Performance: Information, Collection, Reactivation
- 9 Capturing Narrative and Data in Performance Art: The Joan Jonas Knowledge Base
- 10 On the Long Road to Becoming a Matter of Course: Collecting Live Performances in Museums and Other Art Collections
- 11 Making Movement Memorable: Tino Sehgal and Boris Charmatz at Tate
- 12 Retrospective Remarks on Rose English, Mona Hatoum and Ana Mendieta: Where Is Performance?
- Index