A presente dissertação trata de três ciclos de trabalhos poéticos realizados entre 2009-2012 (vermelho, verde e cinza-cor-de-pele). A vivência do corpo com a cor nos três ciclos fez emergir, a partir de tonalidades e de balizas estipuladas a priori, processos de sensibilização do corpo no cotidiano, que foram entendidos em si como poética, bem como geraram desdobramentos: pinturas, objetos, ações... Nos ciclos, importaram as transformações que aconteceram no corpo, nas obras e num certo entre. Onde o dentro e o fora se encontram? O que separa um corpo do outro? No embate direto com a matéria, com o pigmento, a percepção tátil-visual foi ativada e, neste texto, entendida como chave conceitual para uma abordagem do corpo do artista nas artes visuais. Tal estudo deu-se principalmente a partir da Fenomenologia da Percepção de Maurice Merleau-Ponty, da Doutrina das Cores de Joahnn Wolfgang Goethe, do infra-mince descoberto por Marcel Duchamp e do Corpo do Artesão descrito por Pamela H. Smith. Além do estudo teórico, foram analisadas obras e manifestações culturais como auxílio reflexivo para toda a pesquisa: a pintura corporal do rito de passagem dos meninos da nação Kadiwéu, as Antropometrias da Fase Azul de Yves Klein e a performance e instalação Roda dos Prazeres de Lygia Pape. Ainda, fazem parte desta dissertação duas entrevistas com artistas que têm a cor e a atitude corporal diante do fazer artístico como foco de seus trabalhos. / This essay analyzes three cycles of poetic works made between 2009-2012 (red, green and skin-gray color). The interaction of color and body in the three cycles emerged from hues and goals stipulated a priori, affecting the behavior of the body, what was perceived as poetry, in that they stimulated paintings, actions, objects... The main focuses of attention in each cycle were the transformations that took place in the body, in the pieces and somewhere inbetween. Where the inside and the outside toutch each other? What separates one body from the other? In direct confrontation with materials, with pigments, the visual-tactile perception was activated and, in this text, understood as a conceptual key of the artist\'s body in the visual-art\'s field. The conceptual approach was mainly driven by the Phenomenology of Perception by Maurice Merleau-Ponty, the Theo-ry of Colors by Joahnn Wolfgang Goethe, the infra-mince discovered by Marcel Duchamp and the Body of the Artisan described by Pamela H. Smith. Besides the theoretical study, were analyzed some works and cultural manifestations: body painting of the rite of passage for boys in the nation Kadiwéu, the Antropometries of the Blue Períod by Yves Klein and the performance and installation Roda dos Prazeres of Lygia Pape. Still part of this dissertation, two interviews with artists that have the color and human attitude as artistic focus.

-researching the issue of documentation in performance art -realization of a performance in nature -mediating the experience of nature

Staging Sleep: Labor, Care, and Rest in Contemporary Performance examines an archive of plays and performances from the past forty years—which I term sleep theatre—including dramatic literature that foregrounds sleep and sleeplessness and performance art in which the artist sleeps in front of an audience. Contemporary theatre about sleep exposes the roots of sleep loss in overwork, healthcare disparities, and housing insecurity and imagines alternative social possibilities for sustainable rest. I understand the concerns and possibilities raised by sleep theatre through the framework of social reproduction theory, a feminist analysis of the vital forms of labor antecedent to commodity production, including housework and dependent care, that keep us all alive. I reorient theatre scholarship on sleep away from psychoanalytic readings of staged dreams and toward an understanding of sleep as a political act shaped by social and material contexts. In Staging Sleep, I argue that studying sleep in theatre and performance art offers new insights into social relations of care and interdependence among performers and spectators, and that sleep onstage not only critiques inhumane economic arrangements but also imagines myriad new social configurations that value rest over work. Staging Sleep begins in 1980, in the immediate aftermath of two decades of international Marxist feminist organizing that saw politicized housewives agitating for recognition of the value of both their work and their leisure. I demonstrate how sleep theatre expands and complicates this political legacy, beginning with the continuing global assault on welfare and unions in the 1980s. In my first chapter, I track how pioneering socialist feminist playwright Caryl Churchill develops the sleepless housewife as a character type, bringing sleep to the stage in a new way as a linchpin of her critique of the family. I then track sleep in theatre as a site of experimentation informed by feminist, queer, and disability studies through the 2010s. Chapter 2 explores sleep in plays by Sarah Kane, Maria Irene Fornes, and Peggy Shaw at the nexus of illness, friendship, and a fraying welfare state. Chapter 3 examines how directors stage homeless sleep in four recent adaptations of Cymbeline from the UK and South Sudan. My final chapter asks how performance itself creates the care and attention necessary to sustain sleep in the globe-touring, iterative performance artworks Best Place to Sleep and Black Power Naps. Sleep performances imagine, enact, and test the limits of very different configurations of labor and rest: ways of life in which caretaking labor is redistributed, and resilience and health become collective concerns rather than individual responsibilities. I suggest that sleep performance is a nascent theatrical phenomenon that will continue to reappear as politically-minded artists work through the theatrical possibilities of spectatorship, site, and immersion in the context of deep questions of everyday justice and equity. Staging Sleep shows how theatre can exploit and transform the weirdness of watching someone sleep, or of falling asleep in the audience, into a restructuring of our practices of work and rest, space and shelter, toward ensuring safe and restorative sleep as a universal right.

This dissertation explores experimentation--across experimental music, experimental theatre, and experimental film, in addition to the term's etymology, scientific usage, and colloquial deployment--in order to derive a deeper understanding of what we mean when we say an artwork is experimental, and how this term can help us understand current artistic praxes and products emerging from performance studies contexts. In this document, I advocate for the term experimental performance as both an umbrella term and as a specific genre name for the artistic activity of contemporary artists working between experimental theatre and performance art, often within performance studies contexts. Ultimately, citing the historical richness of experimental art and its long-standing relationship to the academy as evidence, I advocate for the further academic acknowledgement of experimental performance.

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In Has Modernism Failed? (1984), Suzi Gablik calls for a postmodern art that has preserved the values that modernism lost over the 20th century, stating that only through "direct knowing" may we be shocked out of art-for-art's-sake. In Art As Experience (1934), John Dewey similarly proposes that "thinking is a kind of doing," recommending an instrumental art in one's drive to better him/herself. Contemporary artist Linda Montano challenges the status quo by exploring the nature of art beyond its material value. In her Living Art performances (1970-1986), Montano creates a postmodern pragmatic aesthetic that is conducive to the unique interchange between knowledge and experience. Using descriptive analysis, this study investigates the functional relationship between postmodernism and pragmatics as an aesthetic in performance art. Particularly, it addresses how Gablik's theory and Dewey's methods provide a framework in which Montano's art may be discussed as instrumental to both self and society.

No description available.

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No. / The University of Bradford has recently pioneered a radical approach to engaging children and young people in learning about technology and the arts, thanks to funding provided by the English Arts Council. Young people engaged with youth services in the Bradford area were invited to take part in innovative performance art and digital media sessions held at the University. The sessions had a tangible output for the young people. The result was four one-minute ¿motion-captured¿ animations containing original music and dance ¿ produced by the participants themselves, with the help of experienced workshop leaders. This was packaged on a DVD which also contained a video documentary about the workshops, filmed as they were taking place by local film-maker and lecturer, David Robison. The participants were also able to take away their work on their mobile phones, video phones and portable Play-stations.

Thesis (Ph. D.)--University of Wisconsin--Madison, 2000. / Includes bibliographical references (leaves 268-284). Also available on the Internet.