{"title":"Performing death: Marina Abramović’s 7 Deaths of Maria Callas","authors":"F. Marzano","doi":"10.18778/1505-9057.59.10","DOIUrl":null,"url":null,"abstract":"This essay analyses the opera project 7 Deaths of Maria Callas by Marina Abramović, premiered in Munich in September, 2020. The first section reconstructs the role that the Greek soprano played in the life of the Serbian performer, bringing the latter to a gradual sense of self-identification. Then, the thirty-years-long development of the original concept of the video piece How to Die into the actual project through its various stages is taken into account, and the stage realisation of the work is described in detail. The third section focuses on the representation of death in Marina Abramović’s performances, while section four compares Callas and Abramović’s works and lives, and their status as iconic women. The last section retraces Abramović’s artistic path which has led her from her extreme and essential performances of the 1970s to her recent experimentations with other media and to her meditation on immaterial art.","PeriodicalId":32744,"journal":{"name":"Acta Universitatis Lodziensis Folia Litteraria Polonica","volume":null,"pages":null},"PeriodicalIF":0.0000,"publicationDate":"2020-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Acta Universitatis Lodziensis Folia Litteraria Polonica","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.18778/1505-9057.59.10","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
Abstract
This essay analyses the opera project 7 Deaths of Maria Callas by Marina Abramović, premiered in Munich in September, 2020. The first section reconstructs the role that the Greek soprano played in the life of the Serbian performer, bringing the latter to a gradual sense of self-identification. Then, the thirty-years-long development of the original concept of the video piece How to Die into the actual project through its various stages is taken into account, and the stage realisation of the work is described in detail. The third section focuses on the representation of death in Marina Abramović’s performances, while section four compares Callas and Abramović’s works and lives, and their status as iconic women. The last section retraces Abramović’s artistic path which has led her from her extreme and essential performances of the 1970s to her recent experimentations with other media and to her meditation on immaterial art.
本文分析了2020年9月在慕尼黑首演的玛丽娜·阿布拉莫维奇的歌剧《玛丽亚·卡拉斯之死》。第一部分重建了希腊女高音在塞尔维亚表演者生活中所扮演的角色,使后者逐渐意识到自我认同。然后,考虑到视频作品《How to Die》的原始概念经过三十年的发展到实际项目的各个阶段,并详细描述了作品的阶段实现。第四部分比较卡拉斯和阿布拉莫维奇的作品和生活,以及她们作为标志性女性的地位。最后一部分回顾了阿布拉莫维奇的艺术道路,这条道路引导她从20世纪70年代的极端和基本表演到她最近对其他媒体的实验,以及她对非物质艺术的思考。