МАРИНА АБРАМОВИЋ/ ПЕРФОРМАНС ИЛИ ПОЗОРИШТЕ БЕЗ ПОЗОРИШТА
MARINA ABRAMOVIĆ/ PERFORMANCE OR THE THEATRE WITHOUT A THEATRE

Summary/Abstract: The essay deals with the unexpected turn towards the theatre taken in the late 1980s by the radical performance artist Marina Abramović. It looks at how the artist “brings performance into a theater context”, or rather the specific strategy adopted in order to bring the aspect of the real happening proper to performance into the representational context of her stage productions The Biography (1992) and Delusional (1994). The ambiguous ontological status of the resulting events suggests that a performance in which both properly theatrical and proper performance protocols are combined and/or simultaneously applied, strictly speaking does not belong either to the theater discipline or that of performance art. Essentially, what Abramović’s «performance within a stage-play» manages to achieve is to set new parameters for defining similar hybrid approaches and the necessity to conceptualize a new transcategorial performance form that will challenge the accepted notions of theatricality and performativity within the performing arts studies.

• Details
• Contents