The decision to build a new swimming hall in Visby at Gotland creates opportunities to reuse the old one, Solbergabadet, for another function. The new function, a Performance Art Center, opens up for a study of how a building made for a very specific function could be used for something else in the future. The transformation process brings up questions about material meetings and how the earlier function as a swimming hall could be a part of the new design process and architecture. By reusing a part of the interior structure as a stage and adding a new reusable structure that is more adapted for the new function, the proposal highlights the architecture of transformations of different types of buildings that also will be more important in the future. By this, the history of the building and the earlier function will still be alive but in a new shape in combination with components that the new function requires.

This mini-thesis investigates the concepts of refusal and rupture as a postdramatic revolt and how these terms can be applied and read within the context of analysing contemporary devised performance in South Africa. The argument focuses on the efficacy of Hans-Thies Lehmann’s postdramatic terminology and the potential of its use in an appreciation of contemporary performance analysis. I investigate the potential in South African contemporary devised performance practice to challenge prevailing modes of traditional dramatic expectation in order to restore the experience of discovery and questioning in the spectator. This research is approached through a qualitative process which entails a reading and application of selected critical texts to the analysis with an application of Lehmann’s terminology. This reading/application is engaged in a dialogue with the interpretative and experiential aspects of selected South African devised performances with particular focus on four cross-disciplinary works selected for analysis. Chapter One functions as an introduction to the concept of postdramatic theatre and the application of the terms refusal and rupture as deconstructive keywords in the process of a devised performance. Chapter Two is an analysis of several South African contemporary performances with particular focus on Body of Evidence (2009) by Siwela Sonke Dance Company, Wreckage (2011) a collaboration by Ubom! Eastern Cape Drama Company and First Physical Theatre Company, Discharge (2012) by First Physical Theatre Company, and Drifting (2013) by The Rhodes University Drama Department. This mini-thesis concludes with the idea that with an understanding of refusal and rupture in a postdramatic revolt, contemporary devised performance achieves an awakening in its spectators by deconstructing the expectation of understanding and the need for resolve; the assumption and need for traditional dramatic structures and rules are challenged. Instead, it awakes an experience of discovery and questioning.

Soviet-era Communism was a project of emergence that failed to realise its Utopian ambition. Nevertheless, it created an unprecedented simulacrum whose visual language was appropriated by a number of artists as a readymade. This artistic response to everyday reality shaped an unofficial narrative of the Communist epoch. Operating beyond the official realm these artists were subject to varying degrees of censorship, and their activities led to what became known as ‘non-official’ art. Non-official artists suffered from inferior materials, lack of exposure, and were forced to radicalize their methods of production. Without official support the everyday domestic realm and a diverse range of outdoor sites became sites of production. The primary arena, however, and the one that would become the most politicized, was the artist's body that often acted as one or both material and surface. On the one hand the thesis takes the Communist context as a common platform from which to discuss time-based art practices in Eastern Europe while, on the other, it proposes that such a general view is worthless since it does not pay sufficient attention to the particular conditions within each bloc country. While the former serves as a reference for artistic response in a wide view, the latter provokes a deeper, more contextualised, understanding of the social, political, and cultural conditions that ultimately shaped non-official art. To understand fully the effect of the Communist past also involves analysing it through the lens of the present day. A number of works produced pre- and post-1989 are analysed that offer insights into the past, its disintegration, and the transition period. The theoretical and critical thrust is shaped from primary research material gathered from artists, intellectuals, and critics throughout the region, so as to most clearly reflect its own contemporaneous and unfolding discourse. It builds on these key sources and underscores the difficulties faced when trying to locate the works within existing art history canons. Together with this written element, a further two curatorial strands complete the form of the thesis. A website has been created that reflects the thesis enquiry, three re-enactments of historical works are undertaken as a strategy that allows for a more experiential understanding of context, and three new performances devised by the author in response to the contexts researched complete the work. The thesis was written throughout Eastern Europe, and primarily in Poland where the author lives and works.

This thesis is an overview of the source material, methodologies, artistic influences, and conceptual decisions that inform my artwork and characterize my art practice. Utilizing participation (audience, community, viewer), I engineer experiences and encounters for the general public. Whether through directed physical interaction or implicit reaction, I create open-ended situations or environments that I may influence, but not fully control. The democratic cede of authorial control, as well as the heightened risk and unpredictably in my work, instigates a more positive, non-hierarchical social model in which every viewer is an “author,” who produces content and communication signals, and has a voice and a presence in society.

This practice-as-research project (a) invents, examines and self-reflects upon two techniques - 'Whirling in Pain' and 'Neurobreathing' - that the author has developed for dealing with pain in performance, (b) creates a framework for the qualitative analysis of pain retraining techniques by conducting an interdisciplinary study of the parameters that describe Somatic Practices and the psychology of Altered States of Consciousness, (c) establishes a taxonomy and classifications for describing and assessing techniques of pain management in the performing arts, (d) qualitatively assesses the training techniques of three practitioners —Antonin Artaud, Jerzy Grotowski and Marina Abramović—who have used Somatic Practices and Altered States of Consciousness in their techniques, and draws out patterns and themes in their practice, (e) distils generic principles of practice that are essential for training pain perception and could be used by other practitioners for developing their own techniques, or to better embody the techniques that the author has developed. These transferable principles are: reinforcement, exhaustion of pain-processing resources, inquisitive modes towards otherness, embodied knowledge, surrendering, Sisyphean reiteration, and music’s capacity for fascination. This dissertation considers the issue of dealing with pain in performance beyond the limited area of theatre pedagogy, suggesting an interdisciplinary approach and expanding its scope into the wider realms of theoretical discourse around culture and pain. This dissertation argues that since pain is not only a biochemical process but one that is culturally constructed, it is therefore possible to retrain or un-train the perception of pain through the facility of Somatic Practices that induce Altered States of Consciousness. Such retraining of pain perception has wider socio-political ramifications that challenge the pervading modern and neoliberal culture around pain, which understands it only through a reductively biological model and relies heavily on the use of exogenous analgesics to alleviate pain. Finally, this dissertation proposes that dealing with pain is possible not only by transcending and moving attentional focus away from pain, but also by entering a plane of immanence, achieved through working synergistically with pain in order to find the coping mechanisms and hidden reserves that lie dormant within the individual. The practical element of this submission consists of: (a) a Manual for Practitioners that describes the techniques step-by-step, and explains the principles behind them, and, (b) two performance videos that exhibit how the author has used the two techniques to create and manage pain within performances.

Orientador: Gisela Gomes Pupo Nogueira / Banca: Dorotéa Machado Kerr / Banca: Rosemara Staub de Barros / Resumo: Ao elaborar uma performance o músico está ciente de que decisões terão de serem tomadas. Este trabalho discute a respeito dos processos de tomadas de decisões e as suas relações com a performance, enfatizando principalmente as descobertas realizadas por Teversky e Kahneman. A ideia de racionalidade plena é contestada, fundamentando-se nas pesquisas que abordam as falácias nas decisões. Os processos cognitivos que auxiliam na velocidade de nossas escolhas - heurísticas - são responsáveis por erros sistemáticos - vieses. Os vieses são exemplos de nossa parcial racionalidade. Diante da complexidade que a performance possui e dos desafios enfrentados por um performer, defendemos a necessidade da proposta elaborada por um músico profissional ser coerente com a sua apresentação, para isso expomos a ideia de eficiência na performance defendida por Herr. O conflito existente entre a racionalidade parcial do ser humano e a busca pela eficiência é apresentado. A fim de tentar aprimorar o modelo de eficiência analisamos algumas das decisões realizadas pelo performer e buscamos identificar a utilização de heurísticas e vieses. Ter conhecimento dessas questões permite que sejamos mais conscientes de nossas escolhas e fornece novas ferramentas que possibilitem identificar e evitar os erros sistemáticos, aprimorando o modelo de eficiência. Por fim, apresentamos propostas para futuras pesquisas com o desígnio de ampliar o arcabouço teórico que possuímos / Abstract: In developing a performance the musician is aware that decisions must be taken. This work discussed about the processes of decision-making and its relationship with performance, highlighting the discoveries made by Kahneman and Teversky. The idea of full rationality is challenged, basing on the research addressing the fallacies in the decisions. The cognitive processes that help speed our choices - heuristics - are responsible for systematic errors - biases. Biases are examples of our partial rationality. Given the complexity that has performance and the challenges faced by a performer, we sustain the need for the proposal prepared by a professional musician to be consistent with his presentation, to expound on this idea of efficiency in performance advocated by Herr. The conflict between the partial rationality of the human and the pursuit of efficiency is presented. In order to try to improve the efficiency model we analyze some of the decisions made by the performer and seek to identify the use of heuristics and biases. Knowledge of these issues allows us to be more conscious of our choices and provides new tools that enable the identification and avoidance of systematic errors, improving efficiency model. Finally, we present proposals for future research with the plan to expand the theoretical framework that we have / Mestre

Este estudo trata de evidenciar, a partir de experiências artísticas e da descrição densa dos processos, o conceito do corpo-testemunha no fenômeno do acontecimento, o qual tratamos como \"encruzilhada poética\". A partir de uma plataforma política de investigação poética, intitulada Projeto Cálice! Ou Negras Memórias Construção n. 3, o artista-pesquisador imergiu dentro do próprio processo artístico, ora entendido como parte da sua formação continuada como artista da cena, para colher suas considerações sobre a interferência de questões éticas e estéticas que atravessam a experiência autoral e propositiva no campo das artes cênicas. Das questões éticas as quais o autor aborda, a tese destaca como as relações étnico-raciais, especialmente ao que concerne o sujeito negro brasileiro, interferem na constituição de uma subjetividade que motiva uma linguagem particular que evidencia a tensão étnico-racial entre estes sujeitos e a sociedade. Das questões estéticas, o autor descreve e analisa como uma forma de pensamento particular, que se orienta a retomar o aspecto de ritual da cena, é capaz de ressignificar positivamente um pensamento filosófico afro-brasileiro. O autor sistematiza sua análise a partir da experiência em três trabalhos abertos que se desenvolvem em sua referida plataforma política de investigação poética: Marca-Dor, Cálice e Preto s/ preto. Neles, observa-se as tenções existentes entre a Performance e a Teatralidade, a partir da experiência no acontecimento do encontro. Busca-se cercar a questão do encontro, sob a perspectiva epistêmica da ideia de encruzilhada poética, adotando um conceito cultural êmico com referência à cultura afro-brasileira, que sugere a noção de caminhos e objetivos que se cruzam em um determinado espaço-tempo. Como lógica empreendida para entender o encontro na perspectiva epistêmica da encruzilhada, o autor lança mão do conceito de corpo-testemunha, compreendendo que, embora a experiência dos trabalhos performáticos seja efêmera e passageira, o corpo é o elemento fundamental para a construção da subjetividade na experiência como também é o prõtos (primeiro, mais importante), meio e fim para a compreensão das relações subjetivas. / Cette étude tente de mettre en évidence, apartir des expériences artistiques et la description dense des processus, le concept du « corps-témoin » dans le phénomène de l\'événement, que nous traitons comme un « carrefour poétique ». D\'une plateforme politique de recherche poétique, intitulée Projeto Cálice! Ou Negras Memórias Construção n. 3, l\'artiste-chercheur s\'est immergé dans le processus artistique lui-même, maintenant compris dans le cadre de sa formation continue en tant qu\'artiste de la scène, pour rassembler leurs réflexions sur l\'interférence de questions éthiques et esthétiques qui traversent l\'expérience de l\'auteur dans le domaine des arts de la scène. Des questions éthiques que l\'auteur aborde, la thèse met en évidence comment les relations ethniques et raciales, surtout en ce qui concerne le sujet noir brésilien, interférent dans la constitution d\'une subjectivité qui motive un langage particulier, qui montre la tension ethnique-raciale entre ces sujets et la société. Des questions esthétiques, l\'auteur décrit et analyse comment une façon de penser particulière, qui est orienté pour reprendre l\'aspect rituel de la scène, est capable de réaffecter positivement la pensée philosophique afro-brésilienne. L\'auteur systématise son analyse apartir de l\'expérience dans trois oeuvres ouvertes qui sont développées dans sa plate-forme politique de l\'investigation poétique: Marca-Dor, Cálice e Preto s/ preto. Dans ces oeuvres, il est observé les tensions existantes entre la Performance et la Théâtralité, apartir de l\'expérience dans l\'événement de la rencontre décontractée. Il cherche à entourer la question de la rencontre décontractée, sous la perspective épistémique de l\'idée de « carrefour poétique », un concept en référence à la culture afro-brésilienne, ce qui suggère la notion de chemins et d\'objectifs qui se croisent dans un espace-temps donné. Comme une logique entreprise pour comprendre la rencontre décontractée dans la perspective épistémique du carrefour poétique, l\'auteur utilise le concept d\'un « corps-témoin » : il ça veut dire que le corps est l\'élément fondamental de la construction de la subjectivité dans l\'expérience, bien que l\'expérience en performance art soit éphémère et transitoire. Ainsi que le corps est aussi le prõtos (principe, le plus important), le milieu et le fin pour la compréhension des relations subjectives.

A partir da análise comparativa das obras Proyecto Filoctetes, de Emílio García Wehbi, e Project Embed (Embed Series), de Mark Jenkins, este trabalho visa discutir o hibridismo nas produções artísticas contemporâneas e suas nomenclaturas, principalmente a intersecção entre as Artes Cênicas e as Artes Visuais, como a performance, que ocorrem no trabalho desses dois artistas com trajetórias, formações (linguagens artísticas) e nacionalidades distintas, mas que produzem obras semelhantes. / From the comparative analysis of the works Proyecto Filoctetes, of Emilio García Wehbi, and Project Embed (Embed Series), of Mark Jenkins, this work aims to discuss the hybridism in contemporary artistic productions and their nomenclatures, particularly the intersection of the Scenic Arts and the Visual Arts, as the performance art, which occur in the work of these two artists with different trajectories, formations (languages arts) and nationalities, but they produce similar works.

A presente pesquisa tem como principal objetivo estudar a tendência de obras de fotografia contemporânea em apresentar formas híbridas entre a linguagem fotográfica e performática. Para tanto, por meio de uma pesquisa bibliográfica, investigou-se o percurso histórico da fotografia e da performance art para verificar quando essas duas linguagens se encontraram, a fim de definir a noção de fotógrafo-performer. Em seguida, analisa-se a obra Suíte Vénitienne da artista francesa Sophie Calle, para que se possa detalhar os procedimentos de criação, construção e registro do trabalho de um fotógrafo- performer. O conceito de performatividade, oriundo dos estudos da performance e das artes cênicas orientaram a análise. Concomitantemente à investigação teórica foi desenvolvida uma pesquisa prática em que se buscou aplicar os procedimentos estudados para a elaboração de um processo artístico que originou um texto performativo, que acompanham todas as etapas do trabalho, além de duas séries fotográficas, que são analisadas no terceiro capítulo do estudo. Por fim, a pesquisa acabou por articular conteúdos provenientes de diversos campos do saber para compreender a \"atitude performativa\", que perpassa toda a produção artística contemporânea, como uma postura não só estética como ética, e para defendê-la como forma ativa de descobrir novas possibilidades - principalmente no que diz respeito à relação prática/ teoria e à relação corpo/ cidade. / This work has as main objective to study the trend of contemporary photography in presenting works with hybrid forms between the photographic and performative language. Therefore, through a literature search, it investigates the history of photography and performance art to check when these two languages met and to define the notion of photographer-performer. Then, is made an analysis of the work Suíte Vénitienne from the french artist Sophie Calle, so we could detail the procedures of creating, building and recording an artistic project by a photographer-performer. The concept of performativity, arising from performance and performing arts studies, guided our analysis. Concurrently with the theoretical research, it was developed a practical research in order to apply the procedures studied in an artistic process that originated a performative text, that accompany all work\'s stages, and two photographic series, which are analyzed in the third chapter from the study. Finally, the research articulates contents from different fields of knowledge to understand the \"performative attitude\", that permeates all contemporary artistic production, as a posture not only aesthetics but also ethics, and to defend it as a way to actively discover new possibilities - especially in what regards the relationship between theory/ practice and the relationship between city/ body

A presente pesquisa traça um percurso referencial artístico que culminou num gênero de performance digital denominado electropera. Este gênero híbrido é formado pelo encontro, numa mesma arena, da performance art, da música contemporânea assistida por tecnologias eletrônicas digitais e das mídias visuais manipuladas (cinema found footage e vídeo arte). A pesquisa parte da abordagem da performance na música com preocupações analíticas acerca da construção da persona no performer musical; caminha para os desdobramentos sonoros nas vanguardas e alcança os movimentos de música experimental resultantes da contracultura dos anos 60; analisa as concepções estéticas de alguns compositores referenciais que saíram dos limites restritivos da escrita musical e optaram pela inserção de múltiplas linguagens em suas obras e lança um olhar analítico sobre novo papel das mulheres como performers e conceptoras de trabalhos musicais no universo da multimídia. A síntese de toda essa genealogia conceitual, histórica e auto-referencial culminou com a produção e a análise crítica e processual de um trabalho pessoal, a electropera Ópio. / This research traces the referential path which culminated in a gender of digital performance entitled electropera. This hybrid gender is constituted by the encounter, in a same arena, of performance art, contemporary music assisted by digital electronic technologies and the manipulation of visual medias such as found footage and video art. This study analytically approaches performance in music by focusing on the elaboration of a persona by the musical performer. Including the sonorous developments on the avant-garde movements through the resulting experimental music derived from the sixties counter-culture and the conceptual aesthetics of some chosen composers which transgressed the restrictive boundaries of musical composition by encompassing multiple art forms. Allowing an analytical glimpse on the new role of women as performers and creators of musical works in the multimedia universe. The synthesis of this conceptual historicized and self-referential genealogy culminated in the production, critical and process analyses of an authorial work, the electropera Ópio.