In lieu of an abstract, here is a brief excerpt of the content:

d%3MANCE Laurie Anderson As an artist, my work derives from language and interval; whether it is expressed in terms of words, images, or music depends on the type of interval, the tone of voice, the content. I'm not sure what makes performance art different from theatre-but one guess is that theatre tends to be linear and narrative. Traditional plays invent characters, change them, and predict their post-play lives. Performance is freer to be disjunctive and jagged and to focus on incidents, ideas, collisions. If you want to talk about earthquakes in a performance, you don't have to have a character who is a geologist or back from the tropics where an earthquake triggered a love affair or introduce someone who is otherwise suitably motivated to bring up the subject. In theatre, an actor's job is usually to convince you that he or she is someone else in some other time and place. Personally, I feel closer to the attitude of the stand-up comedian-not only because I believe that laughter is extremely powerful but because the comedian works in real time. Of course, "I'm a real person and I'm really talking to you" can quickly become grotesque-even more of a fiction than theatre-but I still prefer this frame. As in all generalizations, the above is full of contradictions; and in fact, the main thing that attracts me to performance art is that it is full of contradictions of all kinds. 3611 1 tdo a naitxcan1~ bte %e eluse'e Dick Hliggins digwa apnns hnFu After twentytoUr years noW be calledar per twences r 'iap no longer need any definition for adnw"art pert~mae"' im mttal"~nsO indano a ong ocso When I was Younger I orel abouth n e~tit find its own torm neded ner bterms thepgvmyell an Identity- But now I only ndtemso toas to hep give mysep n on the secret of what I am oin, t hep tem aketheir own txonomy so that the new needed new iter weeet other People "n sitht ts to hel them ak ' Cie. forms won't give them any obstather, similar wO a r its sutability by its relationship to oter sii a l ork thtion on.or suhowb s a fusion, conceptu I, d media." Most of my work is, however auson "mixed medim ad is thus, Intermedia" as oppos ays knows which is medium and is medum, for instance' one s ne in my th ausc wichd te bOk" anwich the mise~efl~scene Inm opera is comiph he "book" and w I make graphic images of the music, musc with words, can be a dance works I c e world of intermedia. ere gestures; and that is t y a literary elete o n h e e e t o M Y sound Poetry ' aton havrar ele mheent r c l p n element Tmyssan taxonomy Of classificas they did when was tomimes. Thus an I am doing the wO , ierlk validity for mysell, while ry to figure out th "eie udien a jus 5 t o~~ut- instead I tyt ieotthe t~fo term u ike' just starting -u~nseo 'en "art periotmace"osbe combining "dance" or "theatre" or even"r per r e tosstheadenea had an" o "se their definitions wre at will not battle but Wil hand, andcesary to make a descriPt n tk Invite each neiN audienc noyw 047v /'10 Performance is theatre and the line between does not exist. Performance Er svriet oof 'w IS theatre with certain distinguishing traits. Since the form is stil "e'rivol0i isthtprvie b teNEA: "performance Occurring iavsaring," the best definition performance is ava r-et- is that proide by the a iual atcon text.", Pretty vague.. Plerne is no r "visua" tan any other kind of theatre. The work Of Colette or O esnberg ivisually dynam c, but the same could be said of scene des i Je Svobo (w rh a bvisual th eatre for half a century) or the director M eyerE (konfo i cntuciitsettings on the early Soviet stage).0d IE F LT Most performance art is "non-literary" which mans...

pdf

Share