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2018 | 26 | 108-133
Article title

Performatywne alter ego

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PL
Abstracts
EN
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?
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References
  • 1. https://en.wikipedia.org/wiki/UpStage
  • 2. https://en.wikipedia.org/wiki/ Cyberformance
  • 3. R. Goldberg, Performance Art – From Futurism to the Present, Chicago 2011
  • 4. https://www.sleek-mag.com/article/ performance-art-internet/
  • 5. https://wizjalokalna.wordpress. com/2015/06/12/marina-abramovic-the- artist-is-present/
  • 6. Ł. Guzek, Performatyzacja sztuki, http://pbc.gda.pl/Content/42838/ Performatyzacja.pdf
  • 7. A. Gwóźdź, Pejzaże audiowizualne, [w:] D. Horton, R. Wohl, komunikacja masowa i paraspołeczna interakcja, Kraków 1997
  • 8. N. Abercombie, B. Longhurst, A Sociological Theory of Performance and Imagination, London 2003
  • 9. L. Bajer, Pop-Essay, „Kino” 1976
  • 10. Ł. Guzek, Biografia w badaniach nad sztuką performance. Proponowane zakresy tematyczne i metody, Gdańsk 2014
  • 11. D. Michalska, Amalia Ulman, czyli Alicja w krainie kapitalizmu, Magazyn SZUM, https://magazynszum.pl/amalia-ulman- czyli-alicja-w-krainie-kapitalizmu/
  • 12. https://www.artsy.net/article/artsy- editorial-history-drag-art
Document Type
Publication order reference
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YADDA identifier
bwmeta1.element.desklight-7b3dd4aa-e29c-4d4a-bcfb-b73043916dab
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