Submitted by Cláudia Bueno (claudiamoura18@gmail.com) on 2016-06-29T17:52:52Z No. of bitstreams: 2 Dissertação - Grasielle Aires da Costa - 2015.pdf: 911952 bytes, checksum: c0ced5b7036e92c431253828b800dfc8 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-06-30T11:26:56Z (GMT) No. of bitstreams: 2 Dissertação - Grasielle Aires da Costa - 2015.pdf: 911952 bytes, checksum: c0ced5b7036e92c431253828b800dfc8 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2016-06-30T11:26:56Z (GMT). No. of bitstreams: 2 Dissertação - Grasielle Aires da Costa - 2015.pdf: 911952 bytes, checksum: c0ced5b7036e92c431253828b800dfc8 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2015-11-06 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This work aims to analyze the concepts of ritual developed by Richard Schechner and Victor Turner. This is realized through the definition, analysis and discussion of the concepts looking for the dialog between Schechner and Turner. The research was developed by reading and analysing the major volumes published by these authors, what is Schism and Continuity; Forest of Symbols; The Ritual Process; Dramas, Fields and Metaphors and From Ritual to Theater by Turner and made by Schechner Environmental Theater; Essays on Performance Theory; Between Theater and Anthropology; The Future of Ritual and Performance Studies. Was not found any work like this. It is an inedited and presented an important review on Schechner‟s and Turner‟s written. The ritual concept needs this multiplicity look to take a new breath and look up different sea-lines. This job has a methodological richness because points out precisely the fact that the research belongs analyse the field "between" the theatre and anthropology. It is not remand to any discipline and the same time belongs to all of them. This is a bibliographic study what can provide theoretical support for various research fields. / Este trabalho visa à análise do diálogo interdisciplinar e liminar estabelecido entre Richard Schechner e Victor Turner através da definição, análise e discussão do conceito de ritual em suas obras. A pesquisa foi desenvolvida através da leitura e fichamento dos principais volumes publicados destes autores, sendo eles Schism and Continuity; Forest of Symbols; The Ritual Process; Dramas, Fields and Metaphors e From Ritual to Theater de Turner e de Schechner Environmental Theater; Essays on Performance Theory; Between Theater and Anthropology; The Future of Ritual e Performance Studies. Não foram encontrados registros de trabalhos semelhantes. Sendo esse um trabalho inédito e que oferece uma revisão dos escritos destes dois autores. Discutir o ritual por esta perspectiva multifacetada é abrir o leque de novas possibilidades de discussão de um conceito tão importante e que tendo sido já tão discutido necessita de novo fôlego para ganhar novos horizontes. Trata-se de um trabalho considerado liminar, pois sua riqueza metodológica está justamente no fato de a pesquisa localizar-se no "entre" o teatro e a antropologia. Não se prende a nenhuma disciplina e ao mesmo tempo pertence a muitas. Trata-se de um estudo bibliográfico que poderá servir de aporte teórico para os mais variados campos de pesquisa.

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.

Cílem této magisterské práce je představit jednoho ze zakládajících členů neoistické skupiny, kontroverzního multimediálního performera Istvana Kantora. Práce se snaží zasadit Kantorovy aktivity do širšího historického, teoretického a politického kontextu. V díle Istvana Kantora se magisterská práce zaměřuje především na jeho krvavá X a na jeho názory na umění a tvorbu. Práce by měla korigovat některé nepřesné informace, které život Istvana Kantora a jeho tvorbu obestírají.

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

Thesis (Ph. D.)--University of Wisconsin--Madison, 2000. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 268-284).

The PhD thesis deals with the role of archives in the contemporary artistic and curatorial practice, with an emphasis on the performance art. It also analyses the creation process, methodology and the contents of selected personal and institutional archives in both Czech and international contexts. The objective of the paper is to answer the following questions: In what way is the documentation and subsequent archiving of process-oriented forms of art performed? How is the history of the contemporary art formed and interpreted through these archives and with the help of the artistic and curatorial practice? To what extent are we able to reconstruct the history from records and performance documents that are only fragmented, thus making a reference to a real action? Do the archives leave some room for misinterpretation, creating a myth or personality cult through its system of classification of knowledge? How indeed is the performance art related to its own history; how is this history perceived by the performer alone; and how is it approached by the professional audience? The paper will also include the analysis of current state and possible solutions to the operation of the archive of the Faculty of Fine Arts, which is related to opening a dialogue among artists, theorists and institutions that might be interested in better accessibility of such an archive.

After the fall of communist regime in 1989, in Czech countries many art groups appeared (e.g. Luxsus, Bezhlavý jezdec, Kamera Skura, Pode Bal, Guma Guar, Ládví and others). The art group Rafani was founded in 2000 by former students of the Fine arts academy in Prague. From the beginning its activities were focused on artistic reflection of social problems and phenomena, especially of local character (Nazi holocaust and Sudetenland, the rise of ultraright parties, forming and perception of democracy etc.). Rafani are operating at the background of strong theoretical platform and clearly given methodical and fundamental bases. The group is often called as politically engaged and its actions are perceived as controversial. Today is one of the best known and most respected subjects on Czech artistic scene. This thesis describes monografically the ten years' history of the group Rafani. The introductory chapters are focused on the issues of terms political and engaged art, its breef history and progress in world as in Czech art. Based on the theoretical background of the art group Rafani, the thesis illustrates the principles and methods of its work, such as the ideological basements of its actions. It assesses the progress of the themes and artistic media from he art historian way and attemps to...

The aim of this thesis is to examine interactivity in the context of performance-based interactive art. The questions asked are: what are the conditions of interactivity, how interactivity happens, and what artistic results it may yield. The method is an analysis based on close studies of three performance-based interactive artworks by applying theories of interactivity, audience participation, and collaboration. First, current theories are outlined, after which, the three artworks are introduced in detail. Next, the artworks are examined, thematically rather than individually, expanding on parameters such as the degree of artistic direction of the artwork, the degree of agency allowed to the spectator in their interaction with the work, and the idea of the “passive” spectator as being “activated” by interactive art. It is shown that the actualization of the interactive gesture inscribed within the work depends on the spectator’s subjectivity and obedience to said gesture. Thus, the conditions of the interaction are not decided by the work/artist alone, but also and equally, by the spectator. Consequently, the actualized interactivity may not immediately correspond with the (possible) authorial intent and may even be unexpected or "infelicitous." The problematic of the thesis falls within the scope of current discourse concerning the striving for interactivity between the work of art and its spectator/audience. While that discourse has often been focused on authorial intent or has implied an ideal spectator, this thesis points to the significance of subjectivity with regards to interactivity and thereby adds increased complexity to the concept of interactivity.

La présente recherche a pour but d’étudier le rôle du temps dans les expériences artistique et esthétique relatives à la performance artistique. Cette étude porte sur les œuvres et les pratiques de la performance du XXe et du début du XXIe siècles, allant des premières manifestations publiques des avant-gardes historiques jusqu’à la performance augmentée par l’intégration des nouvelles technologies de l’enregistrement, de l’information et de la communication. Partant de l’hypothèse de l’efficience du composant temporel de la performance, il s’agit tout d’abord de démontrer que la structure temporelle de la performance fait l’objet d’une élaboration artistique réfléchie et que le temps peut être considérée comme « matériau » ou « milieu » de l’œuvre-performance. Les analyses de la dimension temporelle des œuvres particulières révèlent également son pouvoir d’agir sur le vécu de tous les protagonistes réunis au sein de la performance-événement et sa capacité de les impliquer à différents degrés dans le processus de la concrétisation de l’œuvre-performance. Ces différentes fonctions du temps, son « activité » et son mode opératoire sont analysés au cours de cette recherche en tant qu’ « agentivité du temps dans la performance ». À l’issue de ces investigations, le temps apparaît comme l’un des facteurs ontogénétiques de l’œuvre-performance fondant sa spécificité, et comme l’une de ses qualités intrinsèques susceptible de déterminer les conduites artistique et esthétique de l’artiste et du spectateur, au point de les rendre interchangeables. / The objective of the present research is to investigate the role of time in artistic and aesthetic experiences pertaining to performance art. This paper focuses on the performance works and practices of the 20th and early 21st centuries, ranging from the first public performances of historical avant-garde movements to the performance augmented through the use of the latest recording, information processing and communication technologies. Starting with the hypothesis of the efficiency of a performance’s temporal component, we first demonstrate that the temporal structure of a performance is the matter of well-thought-out artistic design, and that time can be regarded as the medium, or “milieu” of a performance work. Moreover, analyses of the temporal dimension of individual performance works reveal how time can affect the real-life experience of all the protagonists taking part in the performance-event, involving them, to varying degrees, in the process through which the performance comes into being as a work of art. These multiple functions of time, its “activity” and modus operandi are discussed throughout this study as “agency of time in performance”. The research shows that time turns out to be one of the ontogenetic, specificity-conferring factors of a performance work, and also one of its intrinsic qualities which is likely to determine the artist’s and spectator’s artistic and aesthetic attitudes to such an extent that they become interchangeable.

Denna studie är ett kandidatarbete utfört på kandidatprogrammet Grafisk design och kommunikation vid Linköpings universitet. Studien är en kvalitativ designfallstudie som genomförts i samarbete med dansgruppen Pussytiv Dance, där en installation innehållande dans och rörlig bild har utvecklats. Studien syftar till att undersöka hurvida samhällsdebatten om offentlig amning kan kommenteras genom rörlig bild som en del av denna installation. Installationen visades på Feministisk Festival i Malmö 10 juni 2016. Målet med installationen är att väcka tankar, känslor och skapa diskussion om det samtida samhällsklimatet kring offentlig amning i syfte att bidra till en attitydförändring. Debatten om amning på offentlig plats präglas av frågor som rör paradoxen kring kvinnans bröst som sexuellt objekt och matbärare. Samhällets normer leder till att kvinnor känner sig obekväma att amma på offentlig plats, där det även har skett diskriminering i samband med amning. Dessa normer var önskvärda att ifrågasätta genom installationen. Studien kom fram till att det var möjligt att kommentera samhällsdebatten om offentlig amning genom rörlig bild som en del i en dansinstallation. Det kom även fram till att installationens kommunikationsmål nåddes och att installationsformen, dans och rörlig bild, är en effektiv form för att få mottagaren att reflektera över sina egna normer, vilket öppnar upp möjligheten att ändra på invanda attityder.