將行銷學概念用來進行規劃表演藝術的推廣策略，因此將表演藝術觀賞者視為消費者 。消費者分析是進行策略規劃的重要依據，故消費者研究相當重要。消費者研究最初 是以人口變項為主，而為了深入了解消費者，因而發展出生活型態的研究取向，本論 文之研究核心是表演藝術觀賞者的生活型態。 生活型態的理論基礎源於心理學，到了一九六０年代被引用到行銷學領域。生活型態 是一個理論化、抽象化的概念，其操作化概念是心理統計變項。心理統計變項的測量 指標有兩部分：一是A.I.O.三面向，一是人口變項。本研究所採用的表演藝術觀賞者 之A.I.O.量表，有兩種，一是特定化量表，將表演藝術視為一種產品，測量與這種產 品有關的活動、興趣與意見。另一是一般化量表，測量觀賞者一般日常生活中的活動 、意見與興趣。 本研究以問卷調查方式，針對政治大學三年級學生進行調查，以因素分析及區別分析 為統計分析方法，探討表演藝術觀賞者與非觀賞者在生活型態方面有何不同。 本研究除了將「消費者行為」的理論應用到觀賞者研究之外，並可作為國內表演藝術 團體及單位推展表演藝術活動之參考。

In Sudan, 110 babies are abandoned in the streets of Khartoum every month. The majority of abandoned children are born out of wedlock. Young women with illegitimate pregnancies are often ostracized by their families and society, and the lack of emotional, financial and legal support has led many to take desperate measures, including the abandonment of their children. Relinquishing mothers exist like ghosts in Sudanese society. The only evidence of the mother’s experience is her anonymous, abandoned child. In order to understand and examine this phenomenon, I used ethnographic performance art informed by design research practice (Performative Research Design). I performed various acts of abandonment to examine the mechanism and psychology of the act of abandonment. I endeavored through concrete, lived experiences to better empathize with the relinquishing mother and create awareness of the wider psychological and social complexities of child abandonment.

Esta pesquisa compreende a reflexão sobre um conjunto de obras que se enquadram no conceito de Envoltórios para o corpo e para a arquitetura, partindo da perspectiva poética da Arte Contemporânea, tendo como intuito aludir às questões das diversas camadas que, ao longo da vida, vestem e revestem esse corpo nas suas formas de envolver-se e/ou ser envolvido pelo mundo. A ideia de envoltório é aqui tomada como território poroso que encontra abrigo nos interstícios, nas interseções, nos entremeios do dentro e do fora, nas contaminações e nos atravessamentos; membranas como resquícios do tempo e da memória, que se encontram nas extensões com a arquitetura e a paisagem. Essas obras foram apresentadas entre os anos de 2003 e 2017 por meios e materiais diversos, e trazem em sua essência a dicotomia entre a vestidura e o despimento, a proteção e a fragilidade. Durante o processo experimental da pesquisa, investigou-se duas ideias: a Membrana-Corpo e o Corpo-Arquitetura como abrigos da natureza humana, aqui apresentadas como um \"livro de invólucros\". / This research consists of a reflection on a set of artworks based on the concept of body and architecture wrappers from the poetic perspective of Contemporary Art. Its purpose is to allude to the various layers that throughout life, dress and house the body in its ways of involving and / or being involved by the world. The idea of the wrapper is here taken as a porous territory found in the interstices, in the intersections, and the intersperses of the inside and outside space, in its contaminations and crossings: membranes as remnants of time and memory, throughout architecture and landscape. These artworks were presented between the years 2003 and 2017 by various ways and materials, and presenting, in their essence, the dichotomy between wrapping and unwrapping, protection and fragility. During the experimental research process, two ideas emerged: the Body-Membrane and the Architecture-Body as metaphors of human nature, here presented as a \"book of wrappers\".

Esta pesquisa compreende a reflexão sobre um conjunto de obras que se enquadram no conceito de Envoltórios para o corpo e para a arquitetura, partindo da perspectiva poética da Arte Contemporânea, tendo como intuito aludir às questões das diversas camadas que, ao longo da vida, vestem e revestem esse corpo nas suas formas de envolver-se e/ou ser envolvido pelo mundo. A ideia de envoltório é aqui tomada como território poroso que encontra abrigo nos interstícios, nas interseções, nos entremeios do dentro e do fora, nas contaminações e nos atravessamentos; membranas como resquícios do tempo e da memória, que se encontram nas extensões com a arquitetura e a paisagem. Essas obras foram apresentadas entre os anos de 2003 e 2017 por meios e materiais diversos, e trazem em sua essência a dicotomia entre a vestidura e o despimento, a proteção e a fragilidade. Durante o processo experimental da pesquisa, investigou-se duas ideias: a Membrana-Corpo e o Corpo-Arquitetura como abrigos da natureza humana, aqui apresentadas como um \"livro de invólucros\". / This research consists of a reflection on a set of artworks based on the concept of body and architecture wrappers from the poetic perspective of Contemporary Art. Its purpose is to allude to the various layers that throughout life, dress and house the body in its ways of involving and / or being involved by the world. The idea of the wrapper is here taken as a porous territory found in the interstices, in the intersections, and the intersperses of the inside and outside space, in its contaminations and crossings: membranes as remnants of time and memory, throughout architecture and landscape. These artworks were presented between the years 2003 and 2017 by various ways and materials, and presenting, in their essence, the dichotomy between wrapping and unwrapping, protection and fragility. During the experimental research process, two ideas emerged: the Body-Membrane and the Architecture-Body as metaphors of human nature, here presented as a \"book of wrappers\".

Det här är en uppsats som sökt svaret på frågorna: Vad är hyllningskultur och hur tar den sig uttryck bland kvinnliga scenkonstnärer i sociala medier idag? Hur kan hyllningskultur förstås ur ett sociologiskt perspektiv? Sammanlagt har material från 119 Instagraminlägg tillhörande 46 personer samlats in via snöbollsurval och bearbetats med hjälp av framinganalys. Detta har möjliggjort för en analys av hur hyllningskultur framställts. Med vetenskapliga begrepp som inkludering, homosocialitet, kapital och ryktesbaserat samarbete har hyllningskultur beskrivits till att innefatta framställningen av huvudpersonens process, framställningen av upphovspersonens position, relationen dem samt andra konstnärer emellan samt det samhälleliga projektet som konsten är en del av. Tillsammans har de beskrivit det sociala fenomenet hyllningskultur. Hyllningskultur är ett samarbete för att uppvärdera ens egna erfarenheter och ställa om maktförhållandet mellan den egna verksamheten och mainstream. Det är en förhandling med kapital för synlighet, makt och resurser. Hyllningskultur är de samarbetande kvinnornas strategi – en tydlig protest mot den ensamme mannens geni. / This study aims to answer the questions: What is is culture of tribute and how is it expressed amongst female performance artists in social media today? How can culture of tribute be understood in sociological terms? A total of 119 Instagram posts from 46 creators have been analysed. The posts were collected by chain sampling and processed by framing analysis, to visualize how culture of tribute has been portrayed. This study applies theories of inclusion, homosociality, capital and reputation-based cooperation and describes culture of tribute as the framing of the chief character's process, the framing of the consignor's position, the framing of the relationship them between and the political and social project of which the art is  part of. Together, these describe the social phenomenon 'culture of tribute'. The results show culture of tribute as a cooperation aiming to upgrade own experiences and challenge the relationship between the own artistic work and mainstream, culture of tribute is a negotiation of capital with social visibility, power and control over resources as a goal. It is the strategy of cooperating women and a protest against the notion of the autonomous male genius.

Si c’est le futurisme et le Dadaïsme qui sont mis de l’avant dans la plupart des publications sur l’histoire de ce que l’on nomme la performance, l’impact du surréalisme est encore et toujours laissé de côté. En nous appuyant sur les recherches de Roselee Goldberg et Adrian Henri, il s’agit de mettre en lumière la contribution des surréalistes à l’art dit de performance. Précisément, nous reconstruisons et analysons les évènements éphémères que les surréalistes organisent dans la foulée de l’inauguration de leurs grandes expositions internationales : l’Acte manqué mis en scène pour l’Exposition internationale du surréalisme (1938), Prière de toucher, l’objet performatif réalisé pour Le Surréalisme en 1947, puis Festin inaugural et l’Exécution du testament du Marquis de Sade, tous deux planifiés pour l’Exposition inteRnatiOnale du Surréalisme (E.R.O.S.) en 1959. Après l’étude détaillée de ces évènements, il s’agit de les mettre en parallèle avec les expérimentations des artistes se vouant à l’art de la performance des années 1960/1970. Sans affirmer que ce genre d’œuvres est surréaliste, l’objectif est de montrer que certains enjeux et questions auxquelles le groupe s’intéresse se trouvent reflétés dans l’époque de l’âge d’or de la performance. / Although Futurism and Dadaism are credited for their experiences with different forms of performance, only few art historians acknowledge Surrealism’s influence. Building on the work of RoseLee Goldberg and Adrian Henri, the purpose of this thesis is to shed light on Surrealism’s contribution to what is globally known as Performance Art. We reconstruct, study and analyze the ephemeral events organized by the surrealists for their international exhibitions that took place in Paris: the Acte manqué presented at the opening of the Exposition internationale du surréalisme (1938), Prière de toucher, a performative object created for Le Surréalisme en 1947, and Festin inaugural as well as the Exécution du testament du Marquis de Sade, both organized for the Exposition inteRnatiOnale du Surréalisme (E.R.O.S.) in 1959. After a detailed analysis of these events, we then discuss their possible links to Performance Art of the 1960s/1970s. Our aim is not to state that the experimentations of that time period are inherently surrealist, but – in order to show the importance of the surrealist ephemeral events – , we point out that some issues and questions that posed the French avant-garde group, images even, were mirrored in Performance Art of the 1960s/ 1970s.

This is the first study to approach, both historically and theoretically, the emergence and development of performance art in Greece from the 1970s to the 2010s. Drawing on an interdisciplinary framework - including feminist theory, philosophy, sociology, art history, and more - the study aims to address an evident gap in histories of contemporary Greek art. The research begins with the emergence of performative artistic practices in the 1970s, in the conditions set out by the seven-year Dictatorship (1967-1974) and follows, selectively, the complex trajectory of these practices while investigating their connection with wider socio-political and economic developments. The thesis should not be read as a survey, despite being the first book-length analysis of Greek performance art in both English and Greek. The material included here has been selective (drawn out of years of field research) and yet presents, and represents, the spectrum of themes and positions making up the history of performance art in Greece. My contention is that the rise and establishment of performance art in Greece reflected both the political ferment of the time (early 1970s) and an enquiry into the possibility of flight from traditional media. The dual aim of this study is, first, to facilitate and encourage the integration of performance art in a revised Greek art history; and, second, to contribute to an expansion of performance art histories in an international context through the negotiation of hitherto unknown material synthesised in a study of adequate length. This thesis has required large-scale in situ research and overcoming the major obstacle of the absence of relevant publicly held archives. This was one reason why even an elementary linear history of performance art had been such an overwhelming task in the past; a second reason is the overall marginalisation of performance art theory in the Greek context. Through the Greek paradigm, the thesis illuminates new aspects not only of performance but also of post-performative participatory practices, engaging new conceptualisations. By identifying fundamental issues in the production, dissemination, and reception of performance art in Greece, I provide a critical analysis not only of its achievements and potential but also of its impasses and failures. My intention in undertaking this research has been to disprove the notion - implied or stated as a matter of fact in histories of contemporary Greek art - that performance art has had only a sporadic and inconsistent presence in this 'periphery' scene. I argue that the artists investigated in this study are conclusively part of the history of performance in the 20th and 21th centuries, thereby setting the terms and calling for further research on the subject.

<p>The purpose with this essay is to examine how arts and politics integrate to raise urgent messages and call upon social changes. Performance art as an artistic manifestation against the surveillance society has been studied to clarify this integration and through an empirical examination of the anarchistic performance group <i>The Surveillance Camera Players</i>. This group formed in New York City 1996 as a manifestation against the increased use of surveillance cameras in public places in Manhattan. Through performance in front of these cameras, The Surveillance Camera Players are able to express their protest against the surveillance society which, occurring to them, violates citizens constitutionally right to privacy. The development and signification of the surveillance society are examined through theoretical perspective by foremost Michel Foucault, but also by contemporary scientist in that field. Theories about political art have been studied for the understanding of the work of <i>The Surveillance Camera Players</i>.</p> / <p>Uppsatsens syfte är att undersöka hur konst och politik integreras i syfte att föra fram ett budskap och på så sätt försöka påverka till samhällsförändringar. För att tydliggöra detta studeras performancekonst som ett konstnärligt motstånd mot övervakningssamhället och detta exemplifieras genom en empirisk undersökning av den anarkistiska teatergruppen <i>The Surveillance Camera Players, SCP</i>. Denna grupp bildades i New York City 1996, som en manifestation mot det ökande användandet av övervakningskameror på offentliga platser på Manhattan. Genom performance, framför dessa kameror, ger SCP uttryck för sitt motstånd mot övervakningssamhället, som enligt dem, kränker medborgarnas konstitutionella rätt till privatliv. I uppsatsen studeras övervakningssamhällets utveckling och betydelse genom ett teoretiskt perspektiv av framförallt Michel Foucault och även samtida forskare inom området. För förståelsen av <i>The Surveillance Camera Players</i> verksamhet studeras teorier kring politiskt medveten konst. </p>

Janine Antoni's object- and performance-based works draw from multiple influences including feminism and conceptualism, and in these works the artist has fashioned an investigation of the self through the examination of the mother/child dyad, creating a more than fourteen-year body of work about these relationships that explore the implications of feminine imagery. Antoni’s works are an effort to distinguish her body as a feminine subject-object, but also to identify with as well as separate herself from the mother. While she is a conceptual artist, Antoni puts great emphasis on materiality. For her, the concept defines itself within the materials, and it is the process of the making that interests her most, empowering what is traditionally overlooked, forgotten, or disempowered. As she alternately separates from and connects with the mother and the foremothers of the artistic heritage that have surely contributed to establishing this identity, Antoni allows new images of the female to be made visible in a culture where they have traditionally been lacking.

Exquisite is defined as carefully selected or sought out. I believe myself to be a selected soul placed in a body of circumstance. My work is self-explorative and telling of those circumstances in hopes of evoking empathy. Our bodies function and exist on many different levels. What I understand as normal for most differs vastly from what is normal for me. I aim to offer my perspective on the world, establish understanding, and blur the lines of normalcy.