Performing arts-influencing change

• Authors: Dáša Čiripová
• Languages of publication: EN

Abstracts

EN

In the present political and socio-cultural situation in Slovakia, it is natural and necessary even to ask “what position do the arts occupy in this country?” and “what role do they play within the complex global atmosphere?” Art and culture should mirror the nation. Are we aware of that? Do we realize that art has the ability and the power to move? Not many of us realize this. This is a consequence of the permanent scepticism, apathy and resentment caused by the fact that this voice has never been heard. And this is not just the case in Slovakia. Yet even today there are certain groups of artists who still believe in the arts and their power. I think that giving up on this faith is the easiest thing to do. The decision whether to fight, rebel or actively participate is extremely complex and in many cases doing so may even threaten the freedom of the person. In this article I address the issue of whether art has the power and ability to change things. I draw attention to those socially engaging activities that could be described as performance art, which occur beyond enclosed areas and in public spaces; and in order to achieve change, they openly and nakedly attack individual consciousness and the subconscious.

Keywords

EN

society; performance art; public space; engagement; artistic freedom; criticism

• Publisher: Sciendo
• Journal: Human Affairs
• Year: 2011
• Volume: 21
• Issue: 4
• Pages: 382-392

Dates

published

2011-12-01

online

2011-12-25

Contributors

author

Dáša Čiripová

• Theatre Institute

References

• [1] Branigan, T. (2011). Ai Weiwei: “Every day I think, this will be the day I get taken in again…“ The Guardian, Saturday, 26 November 2011.
• [2] Boldberg, R. L. (2011). Performance Art. From Future to the Present. New York: Thames &Hudson World of Art.
• [3] Kimmelman, M. (2008). That Mushroom Cloud? They’re just svejking around. The New York Times, 24 January.
• [4] Kobza, O. (2006). Pracujeme s šokem a provokací zcela vědomě. Lidovky.cz, 20 July.
• [5] Kopernická, A. (2004).Víťazstvo ostalo v Bratislave. Sme, 25 June.
• [6] Lehman, H. T. (2007). Postdramatické divadlo. Divadelný ústav Bratislava.
• [7] Opoldusová, J. (2011). Kapelová: Aspoň výtvarníci nezostali ticho. Pravda, 4 May.
• [8] Schechner, R. (2009). Performancia: teórie, praktiky, rituály. Divadelný ústav Bratislava.
• [9] Schneede, U. M. (1998). Joseph Beuys Die Aktionen. Stuttgart: Gerd Hatje.
• [10] Smith, R. (2009). Sounding the Alarm, in Words and Light. New York Times, March 13.
• [11] Szilágyi-Meyer, M. (Ed.). (2011). Theatre after the Change. And what was there before the After I. + II. Creativ Média. Budapest.
• [12] Wirth, S., Schamburek, E. (2008). It’s a Total Experiment, there are No Limits. Schau ins Blau, September.
• [13] http://www.zhanghuan.com/ShowText.asp?id=23&sClassID=1
• [14] http://ceskolipsky.denik.cz/kultura_region/zijeme-v-totalite-zvane-kapitalizmus-odpoved-d8e5.html
• [15] www.protisedi.cz
• [16] http://gumaguar.bloguje.cz
• [17] http://www.dox.cz/cs/exhibition24/about
• [18] www.ztohoven.com

Identifiers

DOI

10.2478/s13374-011-0038-0