PAJ-A JOURNAL OF PERFORMANCE AND ART最新文献

{"title":"Metaphysical Movement","authors":"Jelili Atiku, Akin Oladimeji","doi":"10.1162/pajj_a_00662","DOIUrl":"https://doi.org/10.1162/pajj_a_00662","url":null,"abstract":"Nigeria’s foremost veteran contemporary artist, Jelili Atiku was born in 1968 in Ejigbo (Lagos), Nigeria. He received his Bachelor of Fine Arts degree from Ahmadu Bello University, Zaria, Nigeria, and a Master of Visual Arts from the University of Lagos, Nigeria. After training as a sculptor, Atiku has been working globally in performance art, beginning in the late 2000s, with installations now forming part of his artistic language. His major performance series, In the Red, focusing on wars and their aftermath, has been performed in several cities, including Tokyo, Copenhagen, Harare, and London. He was invited to perform at the 2017 and 2019 Venice Biennales and at institutions such as CCA Lagos, London’s Tate Modern, and Palermo’s Manifesta 12, where he led a processional performance addressing themes of migration, the destruction of the environment, and Yoruba myths and legends. Atiku has received a variety of awards and grants, including the Netherlands government’s 2015 Prince Claus Award. In 2021, he was included in Phaidon’s survey African Artists: From 1882 to Now. Part of this interview was recorded on September 4, 2022, when Atiku had just completed his performance ỌLỌ́MỌYỌYỌ, at the 2022 Aarhus Festival in Denmark, while other parts were conducted over email.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"215 1","pages":"56-62"},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86852085","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Great Lights, Seen in Darkness: The Passion of Milo Rau and Yvan Sagnet","authors":"Joseph Cermatori","doi":"10.1162/pajj_a_00657","DOIUrl":"https://doi.org/10.1162/pajj_a_00657","url":null,"abstract":"Milo Rau’s 2020 film The New Gospel, based on the Passion of Christ, is a triumph of twenty-first-century religious and political art, one whose release heralds new directions in the landscape of contemporary global performance. The work defies any clear genre, drawing together elements of documentary cinema and theatre, metacinema and metatheatre, neorealist film, modern agitprop art, Brechtian Lehrstück, Beuys’s social sculpture, and the medieval mysterium. It debuted as part of the 2020 International Documentary Film Festival Amsterdam under the German title Das Neue Evangelium only two years into Rau’s new artistic directorship of Belgium’s NTGent. (The premiere streamed online due to Covid-19 restrictions.) The film is now widely available in DVD format, introducing audiences worldwide to an artist already being hailed as “the world’s most controversial director,” and helping extend that artist’s influence to a global scale.1","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"100 1","pages":"16-26"},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87834638","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Artaud and American Artists","authors":"Arthur J. Sabatini","doi":"10.1162/pajj_r_00674","DOIUrl":"https://doi.org/10.1162/pajj_r_00674","url":null,"abstract":"From the 1950s through the early years of the twenty-first century, the writings, works, and variously interpreted meanings of Antonin Artaud’s desperate life were persistent and influential in discussions of theatre and performance, particularly in America. The first translations of Artaud’s writings appeared in what were known as “little” journals and magazines beginning in the post-World War II era. Ranging from visionary texts on theatre and poetry to screeds against then-contemporary Euro-American culture, these writings were, initially, appealing to poets, experimental theatre companies, filmmakers, and visual artists who seized on Artaud’s aesthetic sense of unrestrained interdisciplinary forms and his personal accounts of drug addiction, mental illness, and pursuit of esoteric, non-Western sources. In our era, it is difficult to grasp how a few roughly printed publications with small audiences—origin, Evergreen Review, The Tulane Drama Review, Semina, and the more sophisticated Tiger’s Eye—could be responsible for the extensive circulation of the ideas and work of living artists. But it happened, and as Lucy Bradnock amply demonstrates in No More Masterpieces: Modern Art after Artaud, the effect on artists and the discourses surrounding avant-garde art beyond theatre was widespread, especially after San Francisco-based City Lights Books published The Theater and Its Double in 1958. Containing Artaud’s “theatre of cruelty” manifestos and other seminal writings, letters, and notes, the translations were by Mary Caroline Richards. A larger collection from City Lights, The Artaud Anthology, was released in 1965. With fourteen translators, Bradnock regards the later volume as having as an editorial bent toward accentuating Artaud’s “madness” and marginality as a writer and thinker.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"37 1","pages":"152-156"},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78018607","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Grace Notes","authors":"Richard Landry","doi":"10.1162/pajj_a_00666","DOIUrl":"https://doi.org/10.1162/pajj_a_00666","url":null,"abstract":"I was born in the small village of Cecilia, Louisiana in 1938. At some point, my mother brought me to St. Joseph Catholic Church to meet the priest and suggested that I become an altar boy. During the summer months, my three girl first-cousins would spend a month on the farm; we had a great time. As I was hearing my mother talking to the priest, the choir started singing! I turned around and noticed that there were only girls in the choir! I turned to my mother and said, “Mama, I want to sing.” She answered, “If that will make you happy, then sing.”I joined the choir and started learning the Latin Gregorian Mass. I sang the Requiem six days a week and the Sunday High Mass for at least five or six years. We had an old tracker pipe organ which, to hear, was fantastic. A lot of mornings the organist and I were the only ones performing.When I was fourteen I left the choir and the Catholic Church … a private reason. I lost interest in the church when they went from the Latin Mass to English.In 1983, my eighteen-year-old son Russ was murdered at the gas station he was working at. I was devastated and was basically depressed for two years. I did not go back to New York City during that time, which meant my career came to a halt. In 1986, I returned to the city and had dinner with Laurie Anderson. To make a long story short, she invited me to perform with her for a Trisha Brown/Robert Rauschenberg dance performance at BAM. A month later, her manager asked me to go on a twenty-eight-city tour of her Home of the Brave. At the same time, I met Paul Simon and began working with him on his album Graceland. Then I recorded with Talking Heads. In other words, my career was back on track.One evening at the airport in Houston, I ran into Walter Hopps, Dominique de Menil’s curator of her collection. He said, “Dominique is giving commissions to composers for the opening of her collection.” I said I would tell Philip Glass and Steve Reich. He looked at me directly in the eye and said, “No, you think about it.”On the flight back to my home in Lafayette, I came up with the idea to write a Mass in honor of my son. A few months later, Dominique invited me to Houston to help organize music for the week-long celebration of the collection’s opening. I spent five days with ideas, which included brass choirs, string quartets, the Duke Ellington band, a blues band etc., etc. … At the end of the five days, she asked me what I wanted to do. I said I could do a solo concert, but instead I wanted to write a Catholic Mass in Latin. She said, “Why not French?” I replied, “Latin.” She jumped from her chair and clicked her heels and said out loud, “Great, I always wanted a Catholic Mass for the Rothko Chapel.” I also wanted to do something for the loss of my son Russ.I am not a trained composer. In other words, I do not write music down. I go into the studio and record and overdub. So, for me this was a problem. I had to come with written music for a choir to read. At the time, Apple","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136048222","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Belief Systems","authors":"Ferhat Özgür","doi":"10.1162/pajj_a_00660","DOIUrl":"https://doi.org/10.1162/pajj_a_00660","url":null,"abstract":"In my works, I want to reveal the inner depths of my subjective world as well as the social, cultural, and political geography in which we live. Thinking about the nation of Turkey conjures up all sorts of curious and exotic imaginations of the “other.” In the mind’s eyes of those who visit the country and among those who would wish to analyze various aspects of its sociological, political, and cultural dynamics, its straddling of East and West, Islam and Christianity, Europe and Asia, there is no other place like it on earth. Religious Turks, once the underclass of society here, have become educated and middle class over the last two decades, and are moving into urban spaces that were once the exclusive domain of the elite. The repeal of the scarf ban in the early 2000s has once again set the two groups against each other, unleashing fears that have as much to do with class rivalry as with the growing influence of Islam. While the public debate here typically revolves around Islam and how much space it should have in Turkish society—a legitimate concern in a country whose population is overwhelmingly Muslim and deeply conservative—the struggle over power is a glaring, if often unspoken, part of the tension between the two groups.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"44 1","pages":"41-47"},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75420909","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Oberammergau Dialogue","authors":"Matt Cornish, Donald Hinchey","doi":"10.1162/pajj_a_00665","DOIUrl":"https://doi.org/10.1162/pajj_a_00665","url":null,"abstract":"","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"34 1","pages":"82-91"},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85700741","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Chen Zhen: The Sound of the Life Force","authors":"P. Karetzky","doi":"10.1162/pajj_a_00663","DOIUrl":"https://doi.org/10.1162/pajj_a_00663","url":null,"abstract":"Chen Zhen’s performance work is unique in several ways. A Chinese artist, he lived as an expatriate in Paris since 1986 until his untimely death at the age of forty-five in 2000. The prognostication of his cancer led him to investigate the traditional spiritual ideology of Daoism and Chinese healing practices, including performative rituals of chanting, dancing, and drumming. In this way, his efforts can be seen in the context of ancient Daoist activities linked to the search for longevity and spiritual harmony. Chen succeeded in creating a remarkable body of work, particularly in the last years of his life, which demonstrates the influence of Daoist spiritual thought.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"43 1","pages":"63-69"},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88174002","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Bad Trips: Spiritual Agonies and Ecstasies in the Films of Gaspar Noé","authors":"J. Sirmons","doi":"10.1162/pajj_a_00661","DOIUrl":"https://doi.org/10.1162/pajj_a_00661","url":null,"abstract":"“I was raised atheist ... I really have a problem with people who talk of God or life after death,” says Gaspar Noé, one of contemporary cinema’s great provocateurs.1 It’s an unsurprising comment from the director, known for his unsparing look at meaningless violence, dark impulses, and the emptiness of life. Yet the comment belies the recurrence of spiritual themes and schemas in his work. Noé’s filmography is an ongoing spiritual quest that is aware of, and even desires, its own futility. An atheist-seeker, he is fascinated with faiths he does not share, and looks, both forensically and sensually, at their praxes and manifestations. Through the lenses of different spiritual traditions, he explores the agonies and ecstasies of the human body and tests the camera’s abilities to capture them. His cinema—notoriously, relentlessly carnal—pushes bodies to extremes. These extremities test spiritual promises of altered states and exposes the dark side of seeking transcendence. Yet even in his dark and cynical moments, Noé still uses spirituality as a pretext for a strong visceral engagement with a “something more” that lies beyond normal human perception. The contortions of body and the pulsations of animate flesh express the duality of an intense present and a shimmering, liminal presence.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"21 1","pages":"48-55"},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87158977","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Mobilizing Dance Archives of the Weimar Republic","authors":"Andrej Mirčev","doi":"10.1162/pajj_a_00671","DOIUrl":"https://doi.org/10.1162/pajj_a_00671","url":null,"abstract":"","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"66 1","pages":"135-140"},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77933835","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Good Vibrations","authors":"S. T. Cummings","doi":"10.1162/pajj_r_00675","DOIUrl":"https://doi.org/10.1162/pajj_r_00675","url":null,"abstract":"Anne Bogart has a restless mind. For more than fifty years, as an artist-director, a writer-thinker, and a teacher-mentor, she has conducted a gentle but relentless inquiry into what makes theatre theatre and by extension what defines the nature of aesthetic experience. In the process, she has avoided answers that are absolute or doctrinaire or reductive, preferring instead to court the ineffable at the heart of the theatrical equation. Sometimes this makes her ideas as notional as they are theoretical. She seems more interested in chasing butterflies on the wing than netting and pinning them to a mat for closer inspection because then, well, they would not be true butterflies anymore.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"33 1","pages":"157-159"},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75863642","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}