{"title":"规定的表演:波动和残疾","authors":"Colby Chamberlain","doi":"10.1162/octo_a_00431","DOIUrl":null,"url":null,"abstract":"Abstract In 1961, George Maciunas first met the artists and composers whom he would organize into the neo-avant-garde movement known as Fluxus. That same year, he acquired a persistent cough that was later diagnosed as asthma. Drawing from disability-studies scholars including Alison Kafer, Rosemarie Garland-Thomson, Jasbir K. Puar, and Ellen Samuels, “Prescribed Performances” considers the historical dimensions of this coincidence. Maciunas belonged to a new class of medical subject, the patient of chronic illness who depended on postwar medical innovations (such as steroids) and integrated a regime of self-management into their everyday life. To chart where and how the subject presented in neo-avant-garde performance intersected with the one produced by an emerging biopolitical apparatus for regulating public health, this article turns to the first Fluxus concerts, held in Europe in 1962–63, and then moves forward into the 1970s, asking how event scores, multiples, happenings, and body art were all inflected by their authors' experiences of debility, gender, sexuality, race, nationality, and precarity. Maciunas's Solo for Sick Man (1962), FluxClinic (1966), One Year (1973–74), Hospital Event (1975–76), and Flux Wedding (1978) will be discussed in relation to works by George Brecht, John Cage, Hi Red Center, Allan Kaprow, Alison Knowles, Shigeko Kubota, Charlotte Moorman, Nam June Paik, and La Monte Young.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":"1 1","pages":"24-51"},"PeriodicalIF":0.4000,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Prescribed Performances: Fluxus and Disability\",\"authors\":\"Colby Chamberlain\",\"doi\":\"10.1162/octo_a_00431\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Abstract In 1961, George Maciunas first met the artists and composers whom he would organize into the neo-avant-garde movement known as Fluxus. That same year, he acquired a persistent cough that was later diagnosed as asthma. Drawing from disability-studies scholars including Alison Kafer, Rosemarie Garland-Thomson, Jasbir K. Puar, and Ellen Samuels, “Prescribed Performances” considers the historical dimensions of this coincidence. Maciunas belonged to a new class of medical subject, the patient of chronic illness who depended on postwar medical innovations (such as steroids) and integrated a regime of self-management into their everyday life. To chart where and how the subject presented in neo-avant-garde performance intersected with the one produced by an emerging biopolitical apparatus for regulating public health, this article turns to the first Fluxus concerts, held in Europe in 1962–63, and then moves forward into the 1970s, asking how event scores, multiples, happenings, and body art were all inflected by their authors' experiences of debility, gender, sexuality, race, nationality, and precarity. Maciunas's Solo for Sick Man (1962), FluxClinic (1966), One Year (1973–74), Hospital Event (1975–76), and Flux Wedding (1978) will be discussed in relation to works by George Brecht, John Cage, Hi Red Center, Allan Kaprow, Alison Knowles, Shigeko Kubota, Charlotte Moorman, Nam June Paik, and La Monte Young.\",\"PeriodicalId\":51557,\"journal\":{\"name\":\"OCTOBER\",\"volume\":\"1 1\",\"pages\":\"24-51\"},\"PeriodicalIF\":0.4000,\"publicationDate\":\"2021-09-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"OCTOBER\",\"FirstCategoryId\":\"1092\",\"ListUrlMain\":\"https://doi.org/10.1162/octo_a_00431\",\"RegionNum\":4,\"RegionCategory\":\"社会学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"HUMANITIES, MULTIDISCIPLINARY\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"OCTOBER","FirstCategoryId":"1092","ListUrlMain":"https://doi.org/10.1162/octo_a_00431","RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"HUMANITIES, MULTIDISCIPLINARY","Score":null,"Total":0}
引用次数: 0
摘要
1961年,乔治·马丘纳斯(George Maciunas)第一次见到了被他组织为新前卫运动的激浪派的艺术家和作曲家。同年,他持续咳嗽,后来被诊断为哮喘。《规定的表演》借鉴了包括艾莉森·卡弗、罗斯玛丽·加兰德-汤姆森、贾斯比尔·k·普尔和艾伦·塞缪尔斯在内的残疾研究学者的观点,考虑了这种巧合的历史维度。麦丘纳斯属于一类新的医学主体,他们是依赖战后医学创新(如类固醇)并将自我管理纳入日常生活的慢性病患者。为了描绘新前卫表演中所呈现的主题与新兴的调节公共卫生的生物政治机构所产生的主题在哪里以及如何交叉,本文转向1962-63年在欧洲举行的第一场激流派音乐会,然后进入20世纪70年代,询问事件得分、倍数、事件和身体艺术是如何被其作者的衰弱、性别、性、种族、国籍和不稳定的经历所影响的。马丘纳斯的《病人独奏》(1962)、《FluxClinic》(1966)、《一年》(1973-74)、《医院事件》(1975-76)和《Flux Wedding》(1978)将与乔治·布莱希特、约翰·凯奇、Hi Red Center、艾伦·卡普罗、艾莉森·诺尔斯、久保田重子、夏洛特·摩尔曼、白南琼和拉·蒙特·杨的作品进行讨论。
Abstract In 1961, George Maciunas first met the artists and composers whom he would organize into the neo-avant-garde movement known as Fluxus. That same year, he acquired a persistent cough that was later diagnosed as asthma. Drawing from disability-studies scholars including Alison Kafer, Rosemarie Garland-Thomson, Jasbir K. Puar, and Ellen Samuels, “Prescribed Performances” considers the historical dimensions of this coincidence. Maciunas belonged to a new class of medical subject, the patient of chronic illness who depended on postwar medical innovations (such as steroids) and integrated a regime of self-management into their everyday life. To chart where and how the subject presented in neo-avant-garde performance intersected with the one produced by an emerging biopolitical apparatus for regulating public health, this article turns to the first Fluxus concerts, held in Europe in 1962–63, and then moves forward into the 1970s, asking how event scores, multiples, happenings, and body art were all inflected by their authors' experiences of debility, gender, sexuality, race, nationality, and precarity. Maciunas's Solo for Sick Man (1962), FluxClinic (1966), One Year (1973–74), Hospital Event (1975–76), and Flux Wedding (1978) will be discussed in relation to works by George Brecht, John Cage, Hi Red Center, Allan Kaprow, Alison Knowles, Shigeko Kubota, Charlotte Moorman, Nam June Paik, and La Monte Young.
期刊介绍:
At the forefront of art criticism and theory, October focuses critical attention on the contemporary arts and their various contexts of interpretation: film, painting, music, media, photography, performance, sculpture, and literature. Examining relationships between the arts and their critical and social contexts, October addresses a broad range of readers. Original, innovative, provocative, each issue presents the best, most current texts by and about today"s artistic, intellectual, and critical vanguard.