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Stages of conception: Potentiality and performance in contemporary live art.

机译：构思阶段：当代现场艺术的潜力和表现。

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摘要

Over the past twenty-five years the discipline of Performance Studies has theorized the meaning of a live event in a world increasingly mediated by screen, speaker, or spectacle. These theories have considered "liveness" in terms of the loss of the present into the past (i.e., Blau and Phelan) or the present reiteration of a past instance (i.e., Butler and Schechner), but have not sufficiently acknowledged the live event as a unique encounter with unexpected futurity. This dissertation, "Stages of Conception: Performance and Potentiality in Contemporary Live Art," proposes a theoretical frame for considering how live performance articulates different notions of futurity.;In traditional Western dramatic theatre---a text-based theatre descended from Aristotle's Poetics---the question of how something will happen in a play comes down to a choice from amidst a set of distinct possibilities. In order to placate the anxiety provoked by the unknown, the dramatic theatre stages a future cast in recognizable terms; it gives us scripts to rehearse such encounters. The first section of this dissertation proposes a general theory of futurity as possibility at work in the dramatic theatre and its dominant mode of enactment: psychological realism. Opposed to this well-established tendency, I propose that recent Live Art practices particular to the turn of the millennium stage generative events that do not realize an identifiable form or action. I frame these performances in terms of a potentiality that suspends and displays its capacity "to do" or "to become." Inspired by the divergent philosophies of Giorgio Agamben and Gilles Deleuze, I distinguish two general modes of such potentiality in performance: at one extreme, a reduction to a stilled figure or body that displays its capacity "to do" without producing a definite action; at the other extreme, an overflowing excess of the ground or environment, constantly exhausting and renewing its capacity to become. Case studies range across a broad spectrum of contemporary Live Art, including a dance adaptation of Herman Melville's story "Bartleby the Scrivener", the question of theatricality and anti-theatricality in minimalist art objects, and the experimental theatre of the Italian company Societas Raffaello Sanzio. Situating this contemporary tendency in relationship to 20th century theatre history, I mark significant precursors in the "impossible" theatres of visionaries Gordon Craig and Antonin Artaud, as well as writers who explore the limits of dramatic possibility such as Samuel Beckett.;Ultimately, if dramatic theatre's possibility re-presents future actions according to the preconceptions of human forms and expectations, then potentiality presents a future in the process of becoming post-human, or at least putting pressure on notions of the acceptably anthropomorphic. By thus conceiving the orientation of "liveness" itself anew, I argue that Live Art conducts aesthetic experiments on the future of significance not only to the performing arts, but also to live events in the broader public and political sphere.
机译：在过去的25年中，在越来越多地由屏幕，演讲者或眼镜作为媒介的世界中，表演研究学科已对现场活动的含义进行了理论化。这些理论就失去当下的过去（即Blau和Phelan）或重申过去的事例（如Butler和Schechner）而言都认为是“活泼”，但并未充分认识到实况事件是与意外的未来的独特相遇。本论文“概念阶段：当代现场艺术中的表演和潜力”提出了一个理论框架，用于考虑现场表演如何表达不同的未来概念。在传统的西方戏剧中，这是亚里斯多德诗学派的基于文本的剧院---戏剧中如何发生的问题归结为一系列不同可能性之间的选择。为了安抚未知者引起的焦虑，戏剧剧院以可识别的方式安排了未来的演出。它为我们提供了演练此类遭遇的脚本。本论文的第一部分提出了关于未来性的一般理论，即在戏剧剧场中工作的可能性及其主要的表演方式：心理现实主义。相对于这种公认的趋势，我建议最近的“现场艺术”实践，特别是针对千年期生成事件的转变，而这种行为并没有实现可识别的形式或动作。我根据悬挂和显示其“做”或“成为”的能力来构想这些表演。受到乔治·阿甘本（Giorgio Agamben）和吉勒斯·德勒兹（Gilles Deleuze）不同哲学的启发，我区分了这种表现潜能的两种一般模式：一种极端情况是，将静止的人物或身体还原为表现出“做”的能力而不产生确定的动作；在另一个极端，过多的地面或环境不断耗尽其更新能力。案例研究涵盖了当代生活艺术的广泛领域，包括对赫尔曼·梅尔维尔（Herman Melville）的故事“剧作家巴特比”的舞蹈改编，极简艺术品的戏剧性和反戏剧性问题，以及意大利Societas Raffaello Sanzio公司的实验剧院。我将这种当代趋势与20世纪戏剧史联系起来，在具有远见卓识的戈登·克雷格（Gordon Craig）和安东尼·阿顿（Antonin Artaud）的“不可能”剧院以及探索戏剧可能性极限的作家（例如塞缪尔·贝克特（Samuel Beckett））中标记了重要的先驱。戏剧性剧院的可能性根据人类形式和期望的先入之见来再现未来的行动，然后潜能在成为后人类的过程中展现出未来，或者至少对可接受的拟人化概念施加压力。通过这样重新构想“活”本身的取向，我认为活艺术不仅对表演艺术，而且对更广泛的公共和政治领域中的现场活动，都对未来的意义进行美学实验。

著录项

  • 作者

    Sack, Daniel.;

  • 作者单位

    Stanford University.;

  • 授予单位 Stanford University.;
  • 学科 Dance.;Performing Arts.;Theater.
  • 学位 Ph.D.
  • 年度 2010
  • 页码 294 p.
  • 总页数 294
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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