词条 | performance art |
释义 | performance art ![]() Performance art arose in the early 1970s as a general term for a multitude of activities—including happenings (Happening), body art, actions, events, and guerrilla theatre. It can embrace a wide diversity of styles. In the 1970s and '80s, performance art ranged from Laurie Anderson (Anderson, Laurie)'s elaborate media spectacles to Barbara T. Smith's private ritual and from the camp glamour of the collective known as General Idea to Joseph Beuys (Beuys, Joseph)'s illustrated lectures. In the 1990s it ranged from Ron Athey's AIDS activism to Orlan's use of cosmetic surgery on her own body. Performance art has its origins in the early 20th century, and it is closely identified with the progress of the avant-garde, beginning with Futurism. The Futurists' attempt to revolutionize culture included performative evenings of poetry, music played on newly invented instruments, and a form of drastically distilled dramatic presentation. Such elements of Futurist events as simultaneity and noise-music were subsequently refined by artists of the Dada movement, which made great use of live art. Both Futurists and Dadaists worked to confound the barrier between actor and performer, and both capitalized on the publicity value of shock and outrage. An early theorist in avant-garde theatre was the German artist Oskar Schlemmer, who taught at the Bauhaus from 1920 to 1929 and is perhaps best known for Das Triadische Ballet (1916–22; “The Triadic Ballet”), which called for complex movements and elaborate costumes. Schlemmer presented his ideas in essays in a collective publication, Die Bühne im Bauhaus (1924; The Theater of the Bauhaus), edited by Walter Gropius (Gropius, Walter). ![]() Additional Reading A.A. Bronson and Peggy Gale (eds.), Performance by Artists (1979); RoseLee Goldberg, Performance Art: From Futurism to the Present, rev. and expanded ed. (2001); Moira Roth (ed.), The Amazing Decade: Women and Performance Art in America, 1970–1980 (1983); Paul Schimmel, Out of Actions: Between Performance and the Object, 1949–1979 (1998); Anthony Howell, The Analysis of Performance Art: A Guide to Its Theory and Practice (1999). |
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