-
Performance in Print: Channeling Tōmatsu Shōmei’s NO.541 / Ross, Julian; Stojković, Jelena
Ross, Julian; Stojković, Jelena, «Performance in Print: Channeling Tōmatsu Shōmei’s NO.541». Photography and Culture, 11, 2, (2018), pp. 181-196
- Uncategorised
BUTOH: Duet for Dancer and Photographer / Bieszczad-Roley, Karolina
Bieszczad-Roley, Karolina, «BUTOH: Duet for Dancer and Photographer». PAJ: A Journal of Performance and Art, 33, 3, (2011), pp. 1-10
-
Bodies at the Threshold of the Visible : Photographic butoh
Marshall, Jonathan W., Bodies at the Threshold of the Visible : Photographic butoh, in , The Routledge Companion to Butoh Performance, Routledge, 2018, pp. 158-170
- Uncategorised
Performing The History of A Body in Places / Otake, Eiko; Johnston, William
Otake, Eiko; Johnston, William, «Performing The History of A Body in Places». ASAP/Journal, 4, 1, (2019), pp. 39-57
-
Body, Camera, Action: Understanding the Metamorphosis of Performance Art in Japan
Melnikova, Daria, «Body, Camera, Action: Understanding the Metamorphosis of Performance Art in Japan». Ph.D., , Ann Arbor, United States 2018 Abstract This dissertation is a study of the specific medium “performance art” (pafōmansu āto) in Japan, situated in the transnational and comparative context of the 1960s and the 2010s. Extensively drawing on the art criticism of Akiyama Kuniharu, Ishiko Junzō, Sawaragi Noi, Tōno Yoshiaki, Tone Yasunao, and Yoshida Yoshie, this research investigates the discursive space of performance that constructs a multiplicity of historical terms such as happenings, events, festivals, spectacle. In the 1960s, the fashion of happenings (initially coined by American artist Allan Kaprow) spread outside of artistic institutions such…
-
Circulating the event: the social life of performance documentation, 1965–1975
Santone, Jessica Lynne, «Circulating the event: the social life of performance documentation, 1965–1975». Ph.D., , Ann Arbor, United States 2011 Abstract This dissertation reevaluates the relationship between performance acts and documents by considering the way documentation was understood within the time of an event. Expanding on Alain Badiou’s theory of evental ‘Twoness’ in Being and Event, I develop an approach to performance that always takes documents and performance acts together, as corresponding producers of an art event. Looking at acts and documents together, one notices how the type of repetition enacted between them allows for variation and novelty in an event. One important implication of this approach is a stronger…
