Th.--Hist. de l'art--Rennes 2, 1986.

There is no abstract available for this thesis.

In this thesis I inquire into the nature and possibilities of happenings as they were practiced in the years 2010–2014 especially by political activists, who regard them as an attractive means of drawing attention to various issues. I designate these types of happenings as political happenings, analysing and interpreting their nature with the help of examples taken from my own experience. What I see as most important is the attitude to happenings, which should be based in intention and play, as opposed to being solely guided by purpose. I consider purpose as a rational con-struct, a firm point outside the happening as such, which takes one’s mind off the event itself and tends to turn it into propaganda. For this reason I recommend to take purposes only as reference points, focusing instead on the event itself. This can be greatly facilitated by play, which frees us from the pursuit of external aims, allowing us to abide in the situation here and now. In this way both the activist and the spectator are given the opportunity to step back, gain ease, and to liberate themselves from the all too binding feeling of responsibility for the result. Of course, one cannot stay content with play, for to do so would be to turn the happening into an aimless practical joke with no proper form, and thus with little appeal. Instead, the happen-ing needs to be guided by the activist’s intention which mediates between purpose and play. Intention is a process which take purpose as its point of reference, but unlike it is grounded in the present moment and is ready to change as the situation itself develops. Next I analyse the symbolic level of happenings, which thanks to its openness belongs to the world of play. The fact that symbols cannot be reduced to a single meaning limits their poten-tial for communication and makes them unsuitable for expressing a clear purpose, but this very fact incites the spectators to more active types of communication. A symbol does not exist in itself, it is always a part of a wider network of symbolic associations. By acting within it, the participants themselves also become parts of this network. In this way symbols come alive in human body, gestures and movements, evoking feelings and attitudes. This type of communi-cation is psychosomatic, influencing our embodied stance which forms the matrix of our con-scious attitudes. Thanks to this, symbolic action can influence both actors and spectators on a level that would be hard to reach solely by verbal explanations. I also examine the satirical structure of happenings, which I describe as being constituted by the relation of the dominant and the subversive pattern. In addition to this I show that good satire does not just deride but is self-reflexive as well. For an organizer of happenings it is useful to be one’s own spectator. It does not matter if the spectators do not notice all the details. What matters is whether the actors pay sufficient atten-tion to them. If they do, the effect of every single detail does not get lost even if it is not actual-ly “seen” by anyone. A happening requires the confidence that a well performed event is mean-ingful even this meaning is not easy to point out. Only with this kind of attitude will it be well grounded in its actors, and there will be a chance that it gets caught on in the spectators and will contribute to a change in their personal attitude.

In this study I outline seven characteristics of a traditional Happening (the use of games and play, an inherent intertextual element, an emphasis on place/space, an element/spirit of anarchy, an element of chance, an emphasis on the fusion of art with everyday life, and the existence of both a purpose and a meaning) and seek to determine which characteristics contribute to the Happening's current usage as a rhetorical tool. I created a traditional Happening containing a message of environmental consumption and destruction, and surveyed audience members regarding their interpretation and experience. The survey responses were coded using a top-down narrative analysis. I discovered that intertextuality, place/space, and the fusion of art with everyday life are particularly effective communicators of a message in a socially or politically conscious Happening.

For the realization of forest feast, I chose the form of a happening, and consciously find myself on the edge of art and ritual. I see art as both artifacts created a situation for forest receptions, so the process of formation and reflection receptions, concept or screenplay. Different variants of scenarios that stand in zákadě events I describe below in thinking about work. Also, the script for which I have reached the gradual development considerations, is to read the below invitation to the event, enclosed in the picture. A Feast For example, in ancient Greece began and ended the festival of sacrifice to the gods. I decided to accentuate this motive. The victim from receiving food, waiver of thanksgiving everyday dish deepens, it becomes a conscious activity. In the Christian world has in this sense, the greatest significance of the Last Supper, its symbolism are the most important ritual in the Christian Mass. The feast of Christ gradually became a major theme in the history of art to the modernist and contemporary design. However, I wanted to draw your own version of a symbolic feast as it is for me the key theme of the relationship between man and nature, I placed a feast to the natural landscape. That is my role model in the theater of orgies and mysteries Herman Nitsch and installation Woman House Dinner Party by Judy Chicago. My happening also counts with people, which is thought imminent. Already during previous meetings with small domestic fire, we realized that it is an intimate ritual and should be well participants choose to debate with them about the situation, well brighten intention. Some of the invited guests with my thoughts directly disagreed and refused to participate. That's why I later reviewed, it is a community event. Close relationships that are fundamental perception of that experience helps a reality shared apartment, in the city center on Minority 12. Here, daily life is characterized by the features of a small community. One of the reasons why some invitees refused participation is likely that not so common reality. They do not have a clear awareness of the artistic realities and contexts that allow action should be viewed with a certain detachment, as a result of some conceptual activity of the author. Flavor through community acquires a more significant role if Ideally happening repeat (turns into a ritual), but this time actually with cultivars, products directly in preparation for this purpose. So in terms of actual conscious experience of the origin of food and the principle of submission (the victim): That is their commitment to a particular location to maintain the robust earth energy. The issue of my presentation happening is an issue. I think there is a need, the essence lies in the internal happenings and common experiences of the people involved. Therefore I kept an open space, which form when presenting choose. During implementation, however, consistently work documents. Some moments, however, are not transferable camera. Thus documenting the needs of the thesis and its presentation. Ideally, in the future feasts I want to accentuate documentation retreat.

Au fil des trente dernières années, la notion de performance semble avoir acquis une place décisive dans le discours critique et esthétique du champ théâtral français. Cette étude vise à révéler les conditions dans lesquelles la notion de performance change de statut au sein du discours critique français, à travers une archéologie de la notion qui explore la décennie précédant son apparition dans le discours critique du théâtre en France. Il s’agit de rendre compte des débats et des frictions qui conduisent progressivement à cette émergence, à partir des discours des artistes, des organisateurs et des observateurs (spectateurs et critiques) des pratiques théâtrales dites expérimentales. La thèse étudie d’abord le discours de réseaux artistiques périphériques et parisiens de la période 1963-1968 : les premières éditions de la Semaine Sigma de Bordeaux, la branche Fluxus de l’École de Nice, ainsi que festival parisien de la Libre Expression qui présente le Théâtre Panique et organise des happenings. L’étude se concentre ensuite sur le discours relatif à la séquence 1969-1973 du Festival Mondial du Théâtre de Nancy. On y retrouve les mêmes concepts, exprimés cette fois au service d’un nouvel esprit du théâtre, dont l’enjeu consiste à établir un nouveau territoire critique et esthétique à même de garantir à la discipline théâtrale une place forte au sein de la société. De façon a priori paradoxale, les caractéristiques de la performance s’accordent à la fois aux pratiques théâtrales expérimentales et à une société marquée par l’économie capitaliste. De la contre-culture à la superstructure, cette historiographie tente de rassembler des éléments d’éclairage à cette problématique. / Throughout the past three decades, the notion of performance seems to have gained a crucial place in the French field of theatre’s critical and esthetical discourse. This dissertation intends to find out the conditions in which the notion of performance evolves inside the French critical discourse, exploring the decade preceding its advent in the critical discourse on theatre in France. The aim is to map an archaeology of the notion and to report the debates and frictions which progressively led to its emergence, out of the discourses of artists, curators and observers (spectators and critics) of the so-called experimental theatre practices. The study first analyses the discourse related to some artistic networks -peripheric and Parisian- during the 1963-1968 period, such as the first festivals Sigma in Bordeaux, the Fluxus branch of École de Nice, and the Parisian festival of Libre Expression, which presents the Panique Theatre and happenings. The dissertation then focuses on the discourse related to the 1969-1973 sequence of the International Theatre Festival of Nancy. One witnesses the same concepts, expressed this time in order to underwrite a new spirit of theatre, the stake of which is to set up a new critical and esthetical territory, able to ensure a stronghold position for the theatre field within the society. This historiography gathers elements to clarify how the features of performance can match both the experimental theatre practices and the society outlined by the capitalistic economy, from counter-culture to superstructure.

Orientador: Cassiano Sydow Quilici / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T18:43:57Z (GMT). No. of bitstreams: 1 Nardim_ThaiseLuciane_M.pdf: 16666930 bytes, checksum: 184164a2867714e8fbed6d2ffbbf69a6 (MD5) Previous issue date: 2009 / Resumo: Allan Kaprow foi um artista americano que se destacou no painel de fundação da arte contemporânea pelo pioneirismo na exploração dos happenings enquanto expressão artística. Este trabalho procurou analisar sua obra pelo ponto de vista da inclusão do outro - o fruidor, o espectador, o participante, o colaborador - no desenvolvimento de seu trabalho, que o determina no sentido da instalação de uma estética colaborativa. Assim, introduzindo o conceito de experiência conforme desenvolvido por John Dewey, iniciamos olhando para criação das action collages e como elas direcionam o fruidor a uma experiência do tempo e do espaço; depois, passamos para as assemblages e a evocação de uma experiência do virtual; em seguida, os envrionments anunciam os happenings ao solicitar uma proto-participação, a experiência da realização, que os happenings de Nova Iorque irão desenvolver, abrindo espaço para a participação efetiva. Chegamos, por fim, à colaboração, explorada nos happenings da segunda fase e, posteriormente, nas activities. Num segundo momento, analisamos o uso das estratégias compositivas que Kaprow forjou para criar as activities na composição de um dispositivo gerador para um processo colaborativo de criação teatral. Intitulado "Jogos de Dormir", este dispositivo buscou possibilitar a colaboração criativa necessária para o encaminhamento do processo dramatúrgico ao mesmo tempo em que imergia os colaboradores no universo da performance art, constituindo assim um híbrido criativo-pedagógico / Abstract: Allan Kaprow was an American artist who stood out in the foundation of contemporary art by the pioneering exploration of happenings as an artistic expression. This study examine his work from the standpoint of the inclusion of the another - the spectator, the viewer, the participant, the collaborator - the development of his work, which determines the direction of implementing a collaborative aesthetic. Thus, the study introduce the concept of experience as developed by John Dewey, looking to the create of action collages and how they direct the spectator to an experience of time and space; then, we see the assemblages and the evocation of a virtual experience; thereafter, the environments announce the happenings in requesting a proto-participation, the experience of the realization that the happenings by the New York scene will develop, opening space for the effective participation. We come, finally, to collaboration, explored inte the happenings from the second stage and later in activities. In sequence, we analyze the use of compositional strategies that Kaprow forged to create the activities in the composition of a device for generating a collaborative process of theatrical creation. Titled "Games to sleep", this device tried to enable the creative collaboration necessary for the routing of the dramaturgical process while immersed developers in the world of performance art, thus constituting a creative-pedagogical hybrid / Mestrado / Artes / Mestre em Artes

<p>This dissertation analyzes Wolf Vostell's <italic>Fluxus Zug</italic>, 1981, arguing that it was simultaneously a work of art, a museum, an academy, and an archive. I explore the art work/alternative institution in relation to other museums that Vostell conceived and realized from the 1960s until his death in 1998; the interdisciplinary collaborations that he established in the 1960s; his concept for an ideal academy from 1969; the archive that he began building in the 1950s; and recent theories of the Archive. This microhistorical study reveals Vostell's centrality to contemporary experimental art. I argue that the spirit of Vostell's art and ideas are very much alive today as artists demonstrate widespread interest in curating as an art practice, in the construction of alternative pedagogies, and in working in, with, and against the Archive.</p> / Dissertation

A presente dissertação apresenta uma tentativa de compreender a relação entre o homem atual e as imagens que o rodeiam. Para tanto, o pesquisador colocou-se como um instrumento da pesquisa, ao participar ativamento do processo e ao descrever suas impressões com envolvimento. A experiência consistiu em assistir aleatoriamente vídeos disponíveis na internet por um período determinado, a fim de reproduzir uma situação cotidiana para boa parte da população mundial. A partir disso, produziu-se um relato com a descrição das sensações e, por meio dele, construiu-se uma série de apontamentos e inferências teóricas, entrelaçando-o às teorias atuais sobre a imagem e seus efeitos sobre o indivíduo. O conteúdo foi disposto em três partes: a primeira consiste em apresentar e discutir o conceito de comunicação como Acontecimento, utilizado no trabalho, e o metáporo, o quase-método, utilizado na pesquisa; a segunda parte apresenta as vertentes de estudos da imagem, utilizadas como base para a discussão, e alguns princípios da percepção; e a terceira e última parte trata da impossibilidade de haver comunicação com os vídeos da forma como são disponibilizados, os mecanismos de encanto e entorpecimento das imagens contemporâneas, e um arremate geral da discussão, apresentando as possíveis consequências do excesso de imagens para o ser humano atual. / This work presents an attempt to understand the relationship between modern man and the images that surround him. For this, the researcher has established himself as a research instrument, to participate actively in the process and describe his impressions with involvement. The experience consisted of watching random videos available on the internet for a specified period in order to reproduce an everyday situation of most of the world population. From this, it was produced a report describing the sensations, and through it, built a series of notes and theoretical inferences, weaving the existing theories on the image and its effects on the individual. The contents were ordered in three parts: the first is to present and discuss the concept of communication as Happening, used in this work, and metáporo, the quasi-method used in the research; the second part presents the aspects of image studies, used as a basis for discussion, and some principles of perception; and the third and final part deals with the impossibility of communication with the videos in the way they are made available, the mechanisms of delight and numbness of contemporary images, and an overall finish of the discussion, presenting the possible consequences of excessive images for humans today.

Esta dissertação versa sobre a parcela evanescente que constrói uma série convergente e, desse modo, impossibilita sua permanência em uma forma última. O estudo da evanescência como a possibilidade de movimentar um corpo afirma a potência do infinito de uma vida finita e a impossibilidade da permanência a partir do movimento incessante do infinitamente pequeno. Afirmar a irredutibilidade do movimento a um ponto de chegada e a possibilidade da criação de um outro si ou de um si sempre provisório é considerado, neste estudo, um modo de inventar a vida. Com Foucault e Deleuze, apresenta-se um corpo como uma estrutura atravessada por linhas que operam e compõem instantaneidades, como forma em constante mutação. Trata-se de produzir ecos entre os domínios da filosofia e da matemática, na afirmação da diferença como aquilo que constitui um corpo. A impossibilidade da permanência é tomada como transgressão de limites impostos, ao considerar uma formação como a produção de infinitas formas. / This dissertation is about the evanescent parcel that builds a convergent series and, this way, precludes its permanence in an ultimate form. The study of evanescence as a possibility of moving an object affirms the potency of the infinite of a finite life and the impossibility of permanence from an incessant movement of the infinitely small. Affirming the irreducibility of movement to an arrival point and the possibility to create another form or an form always temporary is considered, in this study, a way to invent life. Departing from Foucault and Deleuze, an object is presented as a structure crossed by lines that operate and compose instantaneities, as a shape in constant mutation. It is about producing echoes between philosophy and mathematics, considering difference as what constitutes an object. The impossibility of the permanence is taken as a transgression of imposed limits, when it consideres a formation as a production of infiniteness forms.