Performance Arts

Performanso meno laukas, kartu su vizualiųjų menų lauku, Lietuvoje patiria itin didelę atskirtį, nes yra
subordinuotas tiek meno, tiek kitų laukų atţvilgiu. Neretai performanso menas, apskritai, nėra laikomas meninio
diskurso dalimi. Galima manyti, jog tai vyksta dėl performanso meno apibrėţimo nesklandumų. Nors sąvokos
„performansas“ ir „performatyvumas“ naudojamos skirtinguose menuose, svarbu nepamiršti, kad jos taip pat plačiai
diskutuojamos ir sociologijoje, filosofijoje bei kitose disciplinose. Analizuojant mokslinę literatūrą ir įvairius šaltinius,
ima ryškėti šių sąvokų konceptualizavimo skirtumai ir panašumai bei jų vartojimo ypatybės. Šiame darbe, siekiama
išsiaiškinti kokiais bruoţais pasiţymi performanso menininkių kūniškasis hexis. Remiantis P. Bourdieu teorinėmis
prieigomis, pastaroji koncepcija išryškėja analizuojant santykį tarp performanso meno lauko ir šios meno srities
menininkių habitus.

Readers of literature, listeners of music, appreciators of visual art-indeed, all recipients or "audiences" in any form of the creative and performance arts-do sometimes connect with the artistic work on a deeply personal and subjective level when the work strikes a relatable chord in them. Audiences tend to find themselves and their everyday reality mirrored, or "place-able," in the work's creative or enacted reality. This subjective experience has been termed "Psychofictive Reality".

The outline of the development of Performance Art features happenings in New York and Vienna in the sixties as well as body art and performances with closed circuits in the seventies (among others). Action Art, Environmental Theater and Intermedia are the terms defining the main characteristics of the works discussed. The research method is mainly based on Intertextuality (Mikhail Mikhailovich Bakhtin) and Systems Theory (Niklas Luhmann).

________________________________________________________________________ Nossa revista chega ao número 8, consolidada como uma publicação de alto nível no panorama das artes cênicas do Brasil. São inúmeras e constantes as manifestações de apoio recebidas, assim como as contribuições destinadas à publicação.

The mixed reality choreographic installation UKIYO, explored in this article, reflects an interest in scenographic practices that connect physical space to virtual worlds and explore how performers can move between material and immaterial spaces. The spatial design for UKIYO is inspired by Japanese hanamichi and western fashion runways, emphasizing the research production company's commitment to various creative cross-overs between movement languages, innovative wearable design for hellerauinteractive performance, acoustic and electronic sound processing and digital image objects that have a pastic as well as an imagistic/virtual dimension. while strongly lies in various forms of making art in order to visualize things that are not in themselves visual, or which connect visual and kinaesthetic/tactile/auditory experiences. The "Moveable Worlds" in this poetic essay are also reflections of the narrative spaces, subtexts and visual-auditory and kinaesthetic relationships in a mutating matrix of "installation"-spaces inviting the audience to follow their sensorial experiences, drawn near to the bodies of the dancers.

Algunas impresiones sobre el trabajo conjunto de Emilio García Whebi y Gabo Ferro presentado el Centro Experimental de la Universidad Nacional de San Martín (Ciudad Autómona de Buenos Aires), en el marco de la "Bienal de Performance Argentina", los días 5 y 6 de junio de 2015.

Lisans öğrenciliği yıllarımda yazdığım bu makaleyi; şu anda değerlendirdiğimde birçok hatalı bilgi ve görüşüm olduğunu görmekteyim. Makaleme ulaşan değerli öğrenci ve araştırmacıların da; bu görüşümü göz önünde bulundurarak kendisini bir kaynak olarak görmemeleri konusunda uyarma gerekliliğine inanıyorum. İlginize teşekkür ediyorum. (29.01.2016)

A review of MSA X Conference "Modernism and Global Media" (Vanderbilt University, November 13-16, 2008)
متابعة لمؤتمر اتحاد الدراسات الحداثية العاشر بعنوان "الحداثة والميديا العالمية" (جامعة فاندربيلت، 13-16 نوفمبر،2008) .

Published in Foussoul 75 (Winter/Spring 2009): pp. 272-276.
نشر في مجلة "فصول" العدد 75 شتاء/ربيع 2009): ص ص 272-276.

Narrating war in semi-documentary performances enables
making sense of complicated and chaotic war development, but
at its downside, power relations, stereotypes and mystification of survivors’ positions have been easily manipulated by different sides. The proposed article aims to reveal narrations in four performances: Letter from 1920 (by Oliver Frljić), The bridge over the blood (by Damir Avdić) and Turbo Paradiso (by Andras Urban) and Crossing the line (by Dijana Milošević) in order to tackle and suppress potential stereotypes, partial representations and interpretations of the Balkan
war. It investigates the intentions and approaches of interpreting war in theatre, and how those narrations contribute to remembering and social judgement toward or against war crimes during the war in Balkans in 90s. The fact that narratives are not neutral requires questioning their subjections and the position of the individual or the group who creates and disseminates them. The specific set of theatre images of victims/survivors and perpetrators in the proposed
performances will be analyzed in order to outline the prevailing
discourse and duties it serves, using it documentary or even testifying components, transforming them into performative art.

Belirli bir zaman ve belirli bir yerde, bir izleyici kitlesine sunulan gösteriler olarak tanımlanabilecek sahne sanatları, bu geniş tanım gereği, geleneksel eğlence biçimlerinden Batı etkisinde gelişen modern tiyatroya pek çok etkinliği içine alır. Teknoloji çağının öncesinde ‘en faydalı eğlence’ olarak görülen tiyatro başta gelmek üzere, sahne sanatları bugün de geniş kitlelere ulaşmaya devam etseler de en güçlü etkilerini sinemanın yeni yeni yaygınlaştığı geç Osmanlı-erken Cumhuriyet aralığındaki geçiş döneminde gösterirler. Ağırlıklı olarak Beyoğlu ve Direklerarası’nda faaliyet gösteren tiyatrolar, bir dönemin en yaygın eğlence şekillerinden tuluat tiyatroları ve bunların icracıları komik-i şehirler, özgün veya adapte oyunları Anadolu’nun en uzak köşelerine kadar ulaşmasını sağlayan gezici kumpanyalar az sayıda roman, öykü, şiir ve tiyatro oyununda ele alınırlar. Çoğu zaman sanat aşkının, tiyatro hevesinin, sanatsal hazzın ve bütün bunların seyirciyle paylaşılması için yapılan fedakârlıkların estetik bir yüceltimle ele alındığı bu eserler, sahne sanatlarının az bilinen dünyası hakkında değerli bilgiler verirler. Kulislerde, sahne arkasında yaşananları, sanatçıların çileli hayatları ve özellikle turneye çıkan kumpanyaların yaşadığı zorlukları sanatın gücü ve tiyatro sevgisiyle iç içe geçirerek ele alırlar.

The mixed reality choreographic installation UKIYO, explored in this article, reflects an interest in scenographic practices that connect physical space to virtual worlds and explore how performers can move between material and immaterial spaces. The spatial design for UKIYO is inspired by Japanese hanamichi and western fashion runways, emphasizing the research production company's commitment to various creative cross-overs between movement languages, innovative wearable design for hellerauinteractive performance, acoustic and electronic sound processing and digital image objects that have a pastic as well as an imagistic/virtual dimension. while strongly lies in various forms of making art in order to visualize things that are not in themselves visual, or which connect visual and kinaesthetic/tactile/auditory experiences. The "Moveable Worlds" in this poetic essay are also reflections of the narrative spaces, subtexts and visual-auditory and kinaesthetic relationships in a mutating matrix of "installation"-spaces inviting the audience to follow their sensorial experiences, drawn near to the bodies of the dancers.

"La bandera en los tiempos de la indignación" corresponde a dos performances realizados por la artista chilena Janet Toro en el transcurso del reciente estallido social en Chile. Ambos trabajos se inscribieron en el marco de la exposición individual "Entre Líneas. Una arqueología de lo Contemporáneo", realizada en noviembre del 2019 en Galería AFA,  que tuvo como temática explorar las vivencias de las mujeres en sociedades represivas, entrecruzadas con las ideas sobre necropolítica producidas en los sistemas políticos neoliberales del profesor e historiador camerunés, Achille Membe.

Aboriginal performance art is the high-heeled, steel-toed moccasin of the telegraph; a series of mountain passes known for extreme weather and dangerous curves. Here, First Nations artists hybridize the telegraph, distilling the information into communal hyper-parable, the issues couched in metaphor or served raw. -Archer Pechawis 1

В статье исследуются вопросы перспектив организационных изменений жилой среды. Исторические формы японского театра рассматриваются как модели этапов развития средообразования. Результаты статьи обосновывают концепцию органичной целостности жилой среды будущего. Системные изменения жилой среды предполагают достижение нового качества отношений «человек – среда».

Melbourne photographer, sculpture and installation artist Richard Giblett has a very consistent fascination with geometric forms and shapes and axonometric projection of structures since his art school years while he studied art in WA. His drawing with grey lead pencil of the library shows the clear potentials and credentials of the Knowledge and Information based techno-society of Dystopia in his early days as art school student. Oddly, there is no human in the library but symbols of knowledge: books as well as the man-made artificial furniture for humans to acquire the Information for the Future. Richard Giblett has another fetish fascination: construction site. His photographs of New York City building sites demonstrate that he not only concerns with the urbanscape of endless constructions and repairs in a two dimensional geometric forms but also the unknown and unseen drainage and sewage. These photographs date way back to early 1990s. He told us he's a carpenter. And he's interested in the hidden reality while he took those photos. The photos of American superhighway with the word 'Toxic' as a warning to the motorists warn us that we can not live away from the city anymore: that is, the production and reproduction of our everyday banal lives. His other photographs taken in WA and NSW are less cosmopolitan and more wildness-based and they all reflect his excitement with geometric shapes and the reflections of them. Some are colours at twilights and dawns while some are black and white.

Products embody possibilities for performativity in everyday actions. These are eliminated in the design process to create usage scenarios. But users interpret product use in terms of performativity. Product use cases are discussed in performa-bility, referentiality, delegated performance, performance as a set of task-based instructions outsourced to other people, allowing construction, enabling improvisation, plurality of meanings, collective body, and dependence on time and space. The methodology is structured on applying these to critical design (CD) and activity-centred design (ACD); because while CD bears resemblances to performance art with its position on the subjects of design, ACD focuses on the activities of the user's body as it performs with products. Body-product relations are considered in the design process; but the potential is greater in terms of performativity. So, the design process can include consideration of the users' actions and of performativity terms.

The mixed reality choreographic installation UKIYO, explored in this article, reflects an interest in scenographic practices that connect physical space to virtual worlds and explore how performers can move between material and immaterial spaces. The spatial design for UKIYO is inspired by Japanese hanamichi and western fashion runways, emphasizing the research production company's commitment to various creative cross-overs between movement languages, innovative wearable design for hellerauinteractive performance, acoustic and electronic sound processing and digital image objects that have a pastic as well as an imagistic/virtual dimension. while strongly lies in various forms of making art in order to visualize things that are not in themselves visual, or which connect visual and kinaesthetic/tactile/auditory experiences. The "Moveable Worlds" in this poetic essay are also reflections of the narrative spaces, subtexts and visual-auditory and kinaesthetic relationships in a mutating matrix of "installation"-spaces inviting the audience to follow their sensorial experiences, drawn near to the bodies of the dancers.

Sensual entry into the city, a tangle of streets is one of the achievements of situationists (Ivan Chtcheglow) for whom the city has become a total place of art, a field of experiment, exploration. Spontaneous drift of flâneur, creating personal maps of the place, new sections of the city's sociology (promenadology of Lucius and Annemarie Burckhardt), defining walk as an artistic practice... – contemporary artistic activities focus on the city and the art of walking / hiking / strolling. The artistic collective Dach ist doch keine Art!, performer Willa Dorner, artist Boris Sieverts, organization B_Tour are just a few artistic examples of experimenting with the city. The city becomes one of their partners, intimate space, board, stage design. The city of alienation is transformed into a city of participation.

Raw, bold, provocative yet stylish, Bitch on Heat is a hypnotizing, seductive and intoxicating show that contrary to what the rather grotesque image on the sensationalist promotional poster suggests, is clever, witty, cerebral and sophisticated, pondering the essence of human existence as we have now stepped into a both prejudiced and liberating 21st century.

... Take one: The Ultimate Commodity As the content for our production, we chose Singaporean writer Gopal Baratham's short story 'The Ultimate Commodity ... project focuses on a small part of the larger story; on the identity crisis which occurs when a father (Binny) confuses his ...