Orientador: Fernando Augusto de Almeida Hashimoto / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T12:10:26Z (GMT). No. of bitstreams: 1 Bergamini_Fabio_M.pdf: 3108550 bytes, checksum: 7f54a497200ed7464a2556c96f6f4344 (MD5) Previous issue date: 2014 / Resumo: Este trabalho visa investigar a performance musical do músico Márcio Villa Bahia, focando o período de 1981 a 1993, quando este passou a integrar o grupo do músico Hermeto Pascoal. A partir das entrevistas, transcrições e análises de trechos dos cinco discos gravados nesse período, procuramos identificar as principais características e peculiaridades nas performances de Márcio Bahia dentro desse contexto. Durante esse período de doze anos, Márcio Bahia teve uma intensa convivência com Hermeto e seu grupo ¿ formado por Jovino Santos, Carlos Malta, Itiberê Zwarg e Pernambuco ¿ numa intensa "jornada" de experimentações, ensaios, shows e estudos musicais. Essa espécie de "laboratório" musical foi chamada por Hermeto e pelos próprios integrantes do grupo de "Escola do Jabour" / Abstract: This work aims to investigate the musical performance of the musician Márcio Bahia Villa, focusing on the period from 1981 to 1993 when he joined the ensemble of the musician Hermeto Pascoal. We tried to identify the main features and peculiarities in his performances within the group by interviews, analysis of transcripts and excerpts of the five albums recorded by the group during this period. Márcio Bahia had an intense relationship over twelve years with Hermeto and his group ¿ formed by Jovino Santos, Carlos Malta, Itiberê Zwarg and Pernambuco ¿ in an intense "journey" of trials, rehearsals, shows and musical studies. This kind of musical "laboratory" was called by Hermeto and by the members of the group "School of Jabour" / Mestrado / Praticas Interpretativas / Mestre em Música

The thesis examines challenges museum curators face when outsourced performers – whose role it is to embody the work of other artists – are included in exhibition projects. The research questions are: What are the practical, juridical and ethical challenges that come with situating outsourced performance labour in the museum setting? What does the inclusion of live performance in exhibition projects mean for the role of the museum curator? Two exhibition cases in Stockholm are studied in the thesis: Marina Abramović – The Cleaner (2017) at Moderna Museet and Dora García, I Always Tell the Truth at Bonniers Konsthall (2018–19). The material consists of digital surveys that were sent out to employed performers from each exhibition case as well as interviews that were conducted with both performers and curatorial staff. The material was examined using theories on affective labour and the theoretical notion of de-skilling and re-skilling of acquired competences.  The thesis shows that the practical challenges include the architectural conditions of museum buildings, insufficient prior knowledge on what working with performers entail, short project timespans and limited exhibition budgets. The juridical challenges include a lack of union recommendations for performance in museums and the difficulty of situating reperformances of historical works that in its form and duration may go against national labour regulations. The ethical challenges include commodification of performers’ subjectivity through instances of affective labour and mechanisms of objectification. In turn, both the outsourced performer and the museum curator turned performance curator inhabits a precarious working situation. The role of the performance curator is highly administrational and organisationally tedious in its positioning between curatorship, performing arts production and human resource management. Additionally, it entails a prodigious amount of affective labour in the reproductive mode – of emotional investments, conflict resolution and social liaison.

In this dissertation, I examine the temporal and material connections between component parts of hybrid artworks, specifically between live events / acts of performance and the long-lasting sculptural elements that those events / performances produce. I propose a re-orientation of the temporal gaze of performance art history, from one oriented to the past to one focused on the continually unfolding present. Such a re-orientation requires a nonlinear approach to art making that complicates set boundaries of past and present, liveness and record, and presence and absence, and disrupts in potentially corrective ways our historically normative systems of looking, categorizing, and archiving art. Through a transfeminist analysis that prioritizes multiplicity rather than categorization, I consider elements of liveness in relation to subjectivity and agency, paying attention to their effect on the works’ ongoing reception and classification in archiving systems. I examine three elements of liveness as maintained through indexicality: action, endurance, and presence. Each of these elements has been historically associated with live art but not with static objects; each has been considered only in the past tense after the initial performance has ended. Using definitions of indexicality, nonlinearity, and agency as starting points, I examine how performance-based artworks connect the performance and subjectivity of the artist across time. This project loosely takes the form of three case studies of hybrid art practices by contemporary artists: Kate Gilmore, Mary Coble, and Cassils.

The National Theatre's Frankenstein is not the first time Shelley's novel has been adapted for the stage, but it is the first time a stage adaptation has returned the popular story to its source material's feminist themes. Departing from the iterations that portrayed Victor Frankenstein as a Byronic hero, Nick Dear's adaptation has re-designed Frankenstein to be misogynistic and calloused. His new nature is best observed in the scene wherein Frankenstein presents the Woman-Creature he's built for his first Creature. She is naked, silent, submissive, and viciously dismembered at the end of the scene. While such submissiveness might justifiably be criticized by a society that has become incredibly concerned for the representation of women in media, this scene has striking similarities to several performance art pieces of the 1960's and 1970's. Building on an understanding of how these pieces function, the Woman-Creature stops being problematic, and becomes poignant. This thesis compares the Woman-Creature's scene to three particular pieces: Marina Abramovic's "Rhythm 0,"Carolee Schneeman's "Meat Joy,"and Suzanne Lacey's "Three Weeks in May."While not a performance art piece itself, this particular scene in Frankenstein has similar purposes, mainly to show the consequences of a social structure that places men as the dominant leader. By not shying away from the visceral nature of these consequences, this production of Frankenstein shocks the audience and reminds them of the harsh realities of the patriarchal structure still seen today.

These pages include parts of the process diary, notes on process, reading, as well as photos from my research process.  These are abstracts of my research and therefore curated in their own right to show not only my somewhat sprawling process but also my honest attempt to share how I document and research in my process. These “written expositions” mirrors how I gather material when I work as a performer and performance maker. This document is as much about me finding out what I did in the project as you are attempting to understand the project´s content, methods and results. It is me looking at the produced material from the outside, curating it to try out words on the method, content and material. I have written about the work reflectively at the same time as I invite you into this action. It´s speculative and intimate.   During my master studies in Performing Arts, I have reflected on what it means to be a performer beyond the symbolic meaning of it- such, as being material or representation for someone else work. I have investigated what the performer spends time doing and reflecting on beyond what is seen “on stage”, and present that, whatever it is and looks like. I have then, in my final degree project, looked at how I can use my gained knowledge as a mainly interactive performer in relation to performance arts and black feminism theory to create my own artistic practice.   My aim has been to do this by being, meaning to exist with, breathing with, becoming part of, attending to and situating myself in relation to performance arts and black feminism theory in a mindful manner.

The thesis deals with the topic of the differences in human corporeality as uniqueness of our existence. It is divided into four parts. The theoretical part defines the concept of corporeality and the associated topics of self- concept, self-acceptance and self-presentation, with an emphasis on supporting the development of people with combined disabilities. Furthermore, the theoretical part deals with the use of human body in art, especially modern art - action art, based on ritual, and body-art. The didactic part brings a proposal to adapt the curriculum of the school program of Ceramic Production for pupils with combined disabilities, by assigning suitable artistic tasks using the material of ceramic clay. The presented result is a series of art lessons - methodological sheets for four teaching blocks focused on the use of physical gestures, emotions and self-concept by students with combined disabilities. The aim is to involve pupils with all types of disabilities, and cause their conscious use of physicality in working with ceramic clay. The research uses the method of qualitative research, namely a questionnaire survey and participatory observation. Research has confirmed that the art lessons series is suitable for pupils with all types of disabilities, and namely that adapting tasks to...

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Im Rahmen der Performancekunst in Nordamerika und Europa seit 1970 lassen sich Performances ausmachen, die sich inhaltlich mit dem Sterben befassen. Die vorliegende Dissertation widmet sich der Frage, inwiefern sich die existenzielle Performancekunst als Medium zur Evokation von Sterblichkeitsbewusstsein eignet. Den Untersuchungsgegenstand bilden 19 Performances, die als existenzielle Performancekunst bezeichnet werden. Die Performer*innen zeigen ihr „Spiel mit dem Sterben“ oder laden dazu ein, bei der Auseinandersetzung mit dem Sterben mitzuspielen. Es wird analysiert, auf welche Weise sich die elf Performer*innen in existenzieller Performance mit Sterblichkeit befassen. Dabei fällt auf, dass es einerseits eine spielerische, liminoide Auseinandersetzung mit dem Thema gibt. Andererseits lassen sich existenzielle Performances ausmachen, die eine ernste, liminale Auseinandersetzung mit der Sterblichkeit aufzeigen, da sich der Künstler/die Künstlerin Schmerzen zufügt bzw. zufügen lässt oder gar in die Gefahr begibt, während der Performance zu sterben. Jene dichotomischen Aspekte, wie sie bereits der Anthropologe Victor Turner beschrieb, werden konkretisiert mit existenzieller Performancekunst in Zusammenhang gebracht und zudem auf Überlegungen der Theaterwissenschaftlerin Erika Fischer-Lichte zur Liminalität bezogen und weiterentwickelt. Im Fokus stehen somit auftretende und sich auflösende Dichotomien, sowie die Interpersonalität zwischen Performenden und Teilnehmenden. Darüber hinaus werden Primäraspekte existenzieller Performancekunst herausgearbeitet. Die Primäraspekte und die dichotomischen Aspekte werden im Hinblick auf die Evokation von Sterblichkeitsbewusstsein untersucht. Die vorliegende Dissertation reflektiert darüber hinaus Fragen der Medialität von existenzieller Performancekunst. / Within the context of performance art in North America and Europe since 1970 several performances that consider mortality can be identified. This dissertation deals with the question, whether existential performance art is suitable as medium to evoke an awareness of mortality. The research object consists of 19 performances that are designated as existential performance art. The performers show their „play with dying“ or invite to participate in the involvement with dying. It is analysed in which kind of way the eleven performer deal with mortality in existential performance art. As can be noticed, on the one hand there is a ludic and liminoid involvement with dying. On the other hand art performances can be identified that demonstrate serious and liminal involvement with dying, because of the artist`s willingness to suffer or even to run the risk of losing his or her life while performing. Those dichotomic aspects, as already described by anthropologist Victor Turner, are made concrete and brought into connection with existential performance art in this dissertation. Furthermore the dissertation refers to Erika Fischer-Lichte`s thoughts concerning liminality, but extends the ideas related to existential performance art and mortality. Oscillating dichotomies are focussed on as well as the interpersonal encounter between performer and participant. Primary aspects of existential performance art are worked out. Both dichotomic and primary aspects are examined concerning their role in evoking an awareness of mortality. Moreover this dissertation reflects on mediality of existential performance art.

Ce mémoire étudie un corpus de compositions musico-théâtrales ayant abouti à la création de l’oeuvre Naissances. Cet opéra contemporain pour ensemble, électroniques et conception d’éclairage a été nourri de nombreuses oeuvres ayant servi d’études préalables aux thématiques, techniques et concepts abordés dans Naissances. Les différentes pièces comportent une importante part d’interdisciplinarité par la théâtralité qui leur est intrinsèque. Chacune des compositions a mis en lumière des aspects de la composition musicale faisant appel au théâtre (et inversement), traçant les contours encore flous des paradigmes de la création sonore interdisciplinaire. S’inspirant des diverses figures de proue du théâtre moderne et contemporain, le présent mémoire questionne la filiation de mes compositions avec les pratiques actuelles, et les potentielles avenues rendues possibles par mon approche de la création musico-théâtrale. / This thesis studies a corpus of music-theatrical compositions that led to the creation of the work Naissances. This contemporary opera for ensemble, electronics and lighting design was nourished by numerous works that served as preliminary studies for the themes, techniques and concepts addressed in Naissances. The different pieces have an important interdisciplinary aspect due to the theatricality that is intrinsic to them. Each of the compositions has highlighted aspects of musical composition that call upon the theater (and vice versa), tracing the still blurred contours of the paradigms of interdisciplinary sound creation. Inspired by the various key figures of modern and contemporary theater, the present thesis questions the filiation of my compositions with current practices, and the potential avenues made possible by my approach to music-theatre creation.