Submitted by Automação e Estatística (sst@bczm.ufrn.br) on 2018-06-05T22:13:05Z No. of bitstreams: 1 MariaCarolinaDeHollandaCavalcantiPineiro_DISSERT.pdf: 7459736 bytes, checksum: 304e1071821b0a797e92e80ac57d3916 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2018-06-11T22:14:45Z (GMT) No. of bitstreams: 1 MariaCarolinaDeHollandaCavalcantiPineiro_DISSERT.pdf: 7459736 bytes, checksum: 304e1071821b0a797e92e80ac57d3916 (MD5) / Made available in DSpace on 2018-06-11T22:14:45Z (GMT). No. of bitstreams: 1 MariaCarolinaDeHollandaCavalcantiPineiro_DISSERT.pdf: 7459736 bytes, checksum: 304e1071821b0a797e92e80ac57d3916 (MD5) Previous issue date: 2016-07-15 / Esta dissertação descreve o percurso de sete experimentos onde investiguei a possibilidade de criação através da reperformance. Para conseguir desenvolver esta prática investigo três obras de Pina Bausch, duas de Marina Abramovic e dois trabalhos autorais, a partir de laboratórios e investigações desenvolvidas no “Workshop de Estudos em Reperformance” para artistas e pesquisadores da região metropolitana do Natal, Rio Grande do Norte e em Bogotá, Colômbia. Para desenvolver tal trajetória, foi realizado um estudo reflexivo sobre a documentação de registros, que culminam nas impressões da visita à exposição de Marina Abramovic no Sesc Pompéia, assim como levantamentos bibliográficos a fim de refletir sobre o conceito de reperformance, e breve um mapeamento afetivo da história da performance em Natal no período de 2007 à 2016. / This dissertation describes the trajectory of seven experiments based on studies in which I investigate the possibility of creation through reperformance. In order to develop my practice, I analyzed three works from Pina Bausch, two from Marina Abramovic, and two of my own works from laboratories and researches developed in "Workshop de Estudos em Reperformance" in which I teach artists and researchers in, both, the metropolitan region of Natal, Rio Grande do Norte, and Bogota, Colombia. To develop such a course, not only a reflective study on records documentation was held, culminating in the impressions of the visit of Marina Abramovic's exhibition at SESC Pompeia, but also literature surveys was made in order to reflect on the concept of reperformance, in which I identify the need to develop an affective mapping of the history of performance in Natal from 2007 to 2016.

Tato práce se zabývá zasazováním zkušenosti do rámce, aktem zrození, opakování a škálou notací, a nakonec pojmem otevřená partitura (open score). Je zde sledováno několik cest, ve kterých se prezentované přístupy a záměry spájejí do základního konceptu zpracovávaní zkušenosti do partitury. Mezi různými styly a metodami ve vztahu k tomuto fenoménu jsou v práci prozkoumávány: hermeneutický přístup k interpretaci umění Hanse-Georga Gadamera v díle Pravda a metoda, estetická teorie Johna Deweyho v Art as Experience, vývoj notace a otevřené partitury, pravidla happeningu, slovní partitury (word score) a instrukce (event scores), forma manifestu a jeho role v umělecké praxi, návodné principy haiku, reperfomance jako odkaz k minulosti a sociální výzkum, rekonstrukce událostí jako sociálně angažované umění, umělecká praxe ve vztahu k legislativě, týkající se pozemkových práv a volného pohybu v krajině. Primárním cílem práce je odhalit proces redukce výchozí zkušenosti skrze uměleckou metodologii, ústící do konečné volně interpretovatelné práce, která má formu otevřené partitury.

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.