1988: Núm.: 29
http://hdl.handle.net/20.500.11904/1284
2024-03-28T10:37:31ZBibliografia
http://hdl.handle.net/20.500.11904/1335
Bibliografia
Bibliografia,
1988-01-01T00:00:00ZNotes i dades per a un estudi inicial de l'activitat «performance» a Catalunya
http://hdl.handle.net/20.500.11904/1334
Notes i dades per a un estudi inicial de l'activitat «performance» a Catalunya
Camps, Teresa
<p>Among so many expressive possibilities of the alternative form, the art based on action, and, more exactly, the performance, have no roots in Catalonia, where the most established artistic tradition was painting.</p>
<p>That is the reason why, in spite of the fact that the Catalan artists living in Paris or New York have cultivated that practice a lot and influenced positively on Catalonia during the last years, there is not a dynamic peculiar to the performance in Catalonia.</p>
<p>Nevertheless, various appreciations can be proved. First, the continuous and effective approach of sectors near the plastic activity, music and the most experimental visual poetry (the poets Joan Brossa, Jordi Valles, Josep Mª Calleja; the musicians Mestres Quadreny, Juan Hidalgo, Carles Santos, Eduardo Polonio).</p>
<p>Second, among the few Catalan artists who have cultivated that activity, it is necessary to refer to sorne nuances including the performance as the expression and directe use of the body (Carlos Pazos, Jordi Benito), the importance of the inside world (Francesc Torres, Angels Ribé) and the emphais on the process of the work (Pere Noguera).</p>
<p>lt is also necessary to say that at the beginning of the eighties that practice was consolidated, so that nowadays, already integrated from the viewpoint of the action, develops itself in a total accepted way. On the other hand, man y artists who consacrated themselves to it in the seventies, have already given it up. That practice has changed from the most direct actiori into more complex, sophisticated and aesthetic positions.</p>
1988-01-01T00:00:00ZEls límits de la «performance» des de perspectives teatrals. Conversa amb Albert Vidal
http://hdl.handle.net/20.500.11904/1333
Els límits de la «performance» des de perspectives teatrals. Conversa amb Albert Vidal
Abellán, Joan
<p>The performance is a new attitude of interpretation andadventure which asks from the audience a different reading, a very different reading from the one asked by a conventional performance or avant-garde. A reading which comes from the tragic bottom of the inner attitude of human beings where the interest of emotions and feelings are above individual protagonism. A perception which requires, on the art of the performer and the audience, sorne distance. That is Albert Vidal's strictly personal point of view, a Catalan creator who, in a corversation about the limits of the performance from a theatrical viewpoint, explains his conception of the performance as the key to contemporary reading, the commitment of the artist of the future and the role of the audience in it. Albert Vidal's background is full of complete personal creations which come from the mime and progressively break with the conventional theatrical relationship in arder to bring theatrical languages to the limits of their imaginary conventions, those involving them in an integral play with perception. <em>L'aperitiu</em>, <em>Cos</em>, <em>Pare Antropològic</em>, <em>Home Urbà</em>, <em>El venedor de gelats</em> and the recent <em>Exposició viva de 40 personatges</em>, where he does not act, are his most famous productions, sorne of which have been widely diffused in several countries.</p>
1988-01-01T00:00:00ZLa vídeo-«performance»
http://hdl.handle.net/20.500.11904/1332
La vídeo-«performance»
Dols Rusiñol, Joaquim
<p>The cinema of the Russian director Dziga Vertov seen as a cinema-eye, as an attempt to bring cinema and the new technological view near reality, and considered to be a counter-cinema, an anti-cinema, a cinema of information and expression, might be the most immediate precedent of video-art, precisely as an anti-artistic, anti-commercial, anti-aesthetic option, too. The video-art of the sixties is an anti-television video. Television has been compared to the cinema of the twenties. A video- art of happening, documentation, lucubration, poli tic agitation: a video-art containing much performance.</p>
<p>Real-time, on-live, action, those are three of the main principies which characterize both the twenties in the Soviet Union and the sixties in the United States. The avant-garde cinema and the video-art: Vertov and Paik. Nam June Paik's drive in a taxi in October 4th, 1965, performance recorded in video, was the beginning of a long series of experiences: his collaborations with Charlotte Moorman, for exemple, without forgetting that at that very moment Rauschenberg, Merce Cunningham, Allan Kaprow, Jim Dine, Yoko Ono, Trisha Brown, Yvonne Rainer,... were taking part in the creation of a complex and many-sided video-performance.</p>
<p>Later on, in full conceptual period, other people would devote themselves to it: Les Levine, Aldo Lambellini, Keith Sonnier, Joan Jonas, Vito Acconci, Dan Graham, Rebeca Horn, General Idea, Ant Farm,...</p>
1988-01-01T00:00:00Z