Reframing performance’s ontology: hybridity in contemporary performance art’s ontology

IF 0.8 0 THEATER
Zane Austin Willard
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引用次数: 0

Abstract

ABSTRACT I argue performance studies’ modernist ontological assumptions of fleeting are antithetical to contemporary performance art which relies on digital technology for mediated viewing processes. In this essay, I argue for a hybrid postmodern performance studies that allow for varying modes of experiencing performance art. I situate Allan Kaprow and Fluxus as the genealogical beginning of performance and argue that Peggy Phelan’s ontological assumptions of performance are inherently modernist. I then pose a postmodern approach to performance studies that embrace an embodiment of hybrid viewing methodologies of performance. Lastly, I use three examples as embodiments and symptomatic representations of this embodiment of a hybrid postmodern performance ontology.
重构行为本体论:当代行为艺术本体论的杂糅
我认为,行为研究的现代主义本体论假设是短暂的,这与当代行为艺术依赖于数字技术介导的观看过程是对立的。在这篇文章中,我主张一种混合的后现代行为研究,允许不同的体验行为艺术的模式。我把艾伦·卡普罗和激浪派作为表演的谱系起点,并认为佩吉·费兰对表演的本体论假设本质上是现代主义的。然后,我提出了一种后现代的表演研究方法,它包含了表演的混合观看方法的体现。最后,我用三个例子作为这种混合后现代表演本体的体现和症状表征。
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来源期刊
International Journal of Performance Arts and Digital Media
International Journal of Performance Arts and Digital Media Arts and Humanities-Visual Arts and Performing Arts
CiteScore
1.70
自引率
0.00%
发文量
29
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