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Wyświetlanie 1-3 z 3
Tytuł:
Obrus. O definicji performansu
Autorzy:
Solski, Zbigniew Władysław
Powiązania:
https://bibliotekanauki.pl/articles/487762.pdf
Data publikacji:
2018
Wydawca:
Akademia Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu
Tematy:
PERFORMATICS
PERFORMANCE ART
THEATRE
PERFORMATYKA
TEATR
Opis:
Tablecloth. On the definitions of performance From its very beginning the development of performatics was influenced by two kinds of performance activities: performance art and theatre. In Po- land theatrologists became proponents of performatics. The translation of Schechner’s book about performance studies was used to homogenise Polish performative vocabulary: the translator reached for the polonized word “performans” and created a new term: “performatyka”. Thanks to Schechner’s general definition – performances are actions, while the sub- ject of performatics are behaviours – the concept of “performans” proved to be very useful because the Polish language lacks such “transparent tool of description”. When in the U.S.A. the researchers dealing with per- formance studies radically broadened the area of performative activities, their representative in Poland, Jacek Wachowski, became involved in the process of limiting the notion of “performans” and theatre’s influence on performatics. This article is devoted to his innovative proposal.
Źródło:
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu; 2018, 26; 6-29
1733-1528
Pojawia się w:
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Performatywne alter ego
Autorzy:
Szuba, Agata
Powiązania:
https://bibliotekanauki.pl/articles/487840.pdf
Data publikacji:
2018
Wydawca:
Akademia Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu
Tematy:
PERFORMER
PERFORMANCE ART
INSTAGRAM
INTERNET ART
ALTER EGO
INFLUENCER
Opis:
Performative alter ego The dynamic development of the Internet and the constant search for new ways of reaching the user bring about the availability of materials that were previously unattainable. Performance art, thanks to its special openness to new methods of expression, reaches the mass media, while showing the individual’s psyche and character of the author’s work. The set of gestures, their sequence and narration are the basis for creating performance art, understood not only as a clear alternative to conven- tional art, but also characterized by unpredictability, in which the viewer is not prepared for the way messages are received. Undoubtedly, social platforms create an illusion. “The influencer” can reach thousands of viewers and gain fame without leaving home. Without a doubt, social media have created a new entry point to the global art scene, opening way to a wide spectrum of diverse artistic activities. The method of re- cording, the non-cutaneous nature of the phenomenon makes it possible to own performative actions. The context of a performance is particularly important. It affects what can be universally recognized as art. The ques- tion arises (since we distinguish two values of the performative action: in the art gallery and on the street), what frames on the social media allow the audience to interpret it as art, and assuming that it is an art, does it change the perception of a given phenomenon?
Źródło:
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu; 2018, 26; 108-133
1733-1528
Pojawia się w:
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Odnajdując i tracąc miejsce. Łódzki underground wobec doświadczenia miejskiej codzienności.
Autorzy:
Filanowski, Błażej
Powiązania:
https://bibliotekanauki.pl/articles/487936.pdf
Data publikacji:
2018
Wydawca:
Akademia Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu
Tematy:
ART
PERFORMANCE
LOCALITY
UNDERGROUND
ŁÓDŹ
POST- INDUSTRIAL CITIES
SZTUKA
PERFORMANS
LOKALNOŚĆ
POPRZEMYSŁOWE MIASTA
Opis:
Finding and losing a place. The Łódź underground against the experience of urban everday life The Łódź underground had emerged from the punk aesthetic, yet it ab- sorbed successive genres surprisingly quickly: hardcore, industrial, later also, among others, techno and rave. It utilized diverse forms of expres- sion: most of all sound, but also projections, site-specific actions, graphic design or fashion. The article, drawing from the memories and output of several most important participants of the movement, poses the ques- tion, in what way the underground so easily absorbed new genres and aesthetic patterns on the one hand, while on the other – it remained so strongly separate. The separation is revealed in the tension between experiencing new, experimenting musical and aesthetic trends, and the overwhelming eve- ryday life of the post-industrial city. This tension was the reason why the underground movement was so intensely performative in its character, in which new knowledge and new inspirations were mostly created in action.
Źródło:
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu; 2018, 26; 188-202
1733-1528
Pojawia się w:
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
Dostawca treści:
Biblioteka Nauki
Artykuł
    Wyświetlanie 1-3 z 3

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