Trust the Pianofish: Shaun McNiff and the magically realistic expressive arts

Margo Fuchs Knill
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Abstract

In resonance with lived art-based research, this article aims to let the art speak through image and poetry and to reflect the phenomenon of imagination and reality within expressive arts in an interdisciplinary mode. The article focuses specifically on Shaun McNiff’s cover image Pianofish of his book Integrating the Arts in Therapy: History, Theory, and Practice through poetic response, dialogue and expressive arts theory of practice. The notion of different realities and imagination as we know it from the literary genre ‘magic realism’ have been central components since the inception of the field of expressive arts at Lesley University. This article reflects ‘magic realism’ in its play with different realities and Shaun McNiff’s appeal to stay with the image. The author refers to Salman Rushdie’s notion of ‘magic realism’ in the context of the phenomenologically based expressive arts.
相信钢琴鱼:肖恩·麦克尼夫和神奇的现实主义表现艺术
在与生活艺术研究的共鸣中,本文旨在让艺术通过图像和诗歌说话,并以跨学科的方式反映表达艺术中的想象和现实现象。本文特别关注Shaun McNiff在其著作《将艺术融入治疗:历史、理论与实践》中的封面形象钢琴鱼,通过诗意的回应、对话和表达艺术理论的实践。我们从文学流派“魔幻现实主义”中了解到的不同现实和想象的概念,自莱斯利大学表现艺术领域成立以来一直是其核心组成部分。这篇文章反映了“魔幻现实主义”在不同现实的游戏和肖恩·麦克尼夫的呼吁,以保持形象。作者指的是萨尔曼·拉什迪的“魔幻现实主义”的概念在现象学为基础的表现艺术的背景下。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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