Examining the Characteristics of Performance Art in the Works of Marina Abramovic from the Point of View of Experts and General Audiences
Keywords:
Performance Art; Marina Abramovic; Comparative Comparison; AudienceAbstract
Performance art can be evolved from other arts that lead the audience from performing a group entertainment to creating a collective work of art. This depicted the presence of the audience in space and its participation in emotional and various results. The performance art has elements of different type of arts and displays the human body as a canvas, which is a part of the main form of art as a moving body. This research points to the investigation of the influence of each of the elements of performance art in the types of mixed arts in Abramović's works. This research is a mixed method. In the quantitative part, a comparative comparison between the components in the selected groups is based on the inferential test statistics. First, by using a systematic review, the grand theory, and coding approach characteristics of performance art are extracted. Then, Delphi future research system is used to select important examples of Marina Abramović's performance art. In the following, the results obtained in the form of a questionnaire are provided to two groups of audiences, which include non-specialists and experts. The sample size for both groups is 384 individuals calculated based on Cochran's formula. The results show that based on the output obtained from multivariate regression, it was determined that in the group of spatial users, the contribution of the factor related to the characteristic of Applied art with a value of (1.000) is higher one and the lowest is related to Innovation and creativity with a value of (0.254) in the group of experts. The highest factor contribution is related to the component of Dramatic, political, and religious arts and linked with traditional, religious rituals with a value of (1.000) and the lowest one is related to narrative and anti-narrative with a value of (0.222).
References
Arbabzadeh, M., Afzal Tousi, E. S., Kateb, F., & Dadour, A. (2016). Redefinition of the body in feminist art (1960s and 1970s). Bagh Nazar, 14(55), 47-58.
Carlson, M. (2007). Performance and postmodern, Farshid Azarang, approaches to the theory of performance, with the efforts of Ali Akbar Alizadeh. Second edition, Tehran, Bidgol Publishing.
Damoud, A. (2011). Acting and Performance Art. Tehran, Kerzan Publishing.
Demaria. C. (2004). The Performative Body of Marina Abramović: Relating (in) Time and Space. European Journal of Women's Studies, 11(3), 1-19.
Kay, N. (2012). A conversation with Marina Abramović, Alireza Amir Hajbi, The Endless Beginning of Conceptual Art, by Alireza Amir Hajbi. Tehran, Nazar Publishing House.
Lucy, E. S. (2007). Concepts and approaches in the last artistic movements of the 20th century (Sami Azar, A. Trans.). Tehran.
Mahmoudzadeh Bakhtabad, F. (2017). Studying the aesthetic possibilities of performance art in Iran's concept clothing design. Master's thesis, Imam Javad Institute of Higher Education, Yazd, Faculty of Art and Architecture.
Mansourian, S., & Nasri, A. (2015). The relationship between the end of art and the end of man from the point of view of Jean Boudiard. Wisdom and Philosophy, 12(2), 93-104.
Manzella, C., & Watkins, A. (2011). Performance Anxiety: Performance Art in Twenty-First Century Catalogs and Archives. Journal of the Art Libraries Society of North America, 30(1), 1-9.
Mashayikhi, A., & Azmudeh, M. (2012). Deleuze, Idea, Time. Tehran, Bidgol Publishing.
Mohseni, P. (2012). Analyzing the social aspects of performance art in the West and comparing it with the works of the last 10 years in Iran. Master's thesis, Islamic Azad University, Central Tehran Branch, Faculty of Arts.
Monthoux, P. G. (1999). Performing the Absolute. Marina Abramović Organizing the Unfinished Business of Arthur Schopenhauer. Organization Studies, 20(7), 1-16.
Naqoyan, M. (2012). Investigating performance and nature of performative in Iranian spaces and places. Master's thesis, Faculty of Applied Arts, Tehran University of Arts.
Navaei, B. (2014). Phenomenological analysis of performance art and the influencing factors on its formation in the sixties and seventies (in the West). Sahne, 96, 53-70.
Partovi, P. (2012). Phenomenology of place. Tehran, translation and publication of text artworks.
Pourkasmaei, P., Nadalian, A., & Marathi, M. (2019). The concept of the body in performance art based on the theories of Gilles Deleuze. Journal of Fine Arts-Performing Arts and Music, 25(2), 15-54.
Rezvani, F. (2015). Investigating the concept of the body in Merleau-Ponty's phenomenology and performance art with a case study of Vali Export. Master's thesis, Tehran University of Arts.
Rahbarnia, Z., & Davari, R. (2016). Examination of ta'ziyeh and performance art with an emphasis on interaction with the audience. Bagh Nazar, 14(49), 19-30.
Sarvandi, L., Mostafavi, S. M., & Shafiei, I. (2018). The concept of audience in the works of Maria Abramović based on the opinions of Maurice Merleau-Ponty. Theater, 76, 14-29.
Saidian, M. (2012). Examining the characteristics of performance in children's puppet theater, the title of the practical part: Pursuing happiness. Master's thesis, Faculty of Cinema and Theater, Tehran University of Arts.
Shad Qazvini, P. (2013). Performance art from Futurism to today, a review of the performance art book. Ketab Mah Honar journal, 170, 20-27.
Shariati Mezinani, S., & Rawdrad, A. (2009). A sociological look at the feminization of the art field (a question from history and a look at the present). Socio-Psychological Studies of Women (Women's Studies), 8(4), 7-28.
Shirazi, M. M., & Rehbarnia, Z. (2015). Comparative study of performance art with the works of French artist (Orlan). International Conference on New Approaches to Human Sciences, 1-10.
Sophaer, J. (2012). Touching the Body: The Living and the Dead in Osteoarchaeology and the Performance Art of Marina Abramović. Norwegian Archaeological Review Journal, 45(2), 135-150.
Stango. S. N. (1977). Concept of Modern Art. Thames and Hudson press, London.
Stile, K. (2008). Marina Abramović, Phaidon Ward, Frazer Marina Abramović: Approaching zero, Performing Participation.
Tashri, S. (2008). Research on the aesthetics and criticism of performance art, Sahne, 67, 52-64.
Turner, V., & Bruner, E. (1986). The Anthropology of Experience. Chicago: University of Illinois Press.
Thompson, Ch., & Weslien, K. (2016). Abramović, Marina. Journal of Performance and Art, 100(14), 1-20.
Ward, F. (2014). Some Relations between Conceptual and Performance Art. Art Journal, 56(4), 36-40.
Westcott, J. (2010). When Marina Abramović Dies. Boston: MIT Press.
Yacek, D. (2014). Learning to See with Different Eyes: Nietzsche on the Pedagogy of Perspective Empathy. Educational Theory Journal, 64(2), 99–121.
Zare, A. (2012). Examining the concept of performance art and its reflection in the contemporary art of Iran. Master's thesis, Faculty of Art and Architecture, Islamic Azad University, Central Tehran branch.
Downloads
Published
Issue
Section
License
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
