What makes the performing arts so special? Although loose, people may apply the term to any form of presentation in front of the audience, but critics have traditionally used the tag to separate dance, music, and theatrical performance from "static" visual art. Painters, writers or photographers can effectively deliver their work and information through time and even across important cultural or language barriers - retaining moments, visions or ideas in a permanent medium. By looking at Stieglitz photos, some lines of Dante or cave paintings on ancient walls, we get something that travels as close as possible to the time and can see [at least almost] the creator at the moment or execution.
On the other hand, performing arts is time-limited. We can't really know what Shakespeare's plays are for the audience, except for some well-preserved accounts, but with his plays as part of the literary history rather than drama. We also don't know what it was like to witness the first performance of the Swan Lake at the Bolshoi Theatre in 1895. Part of the magic is how they act as an event or spectacle, one kind - one that, even in the era of high-definition digital recording, still only exists in the memory of those who see it happen.
Especially in the course of the twentieth century, performing arts has become a particularly important development. At the height of post-war art exploration, dancers, playwrights and musicians use their medium to meet the growing demand for new forms - the changing conditions of the world require an art different from art. come on. Although this driving force can also be recognized in the visual art, on the stage, the artist can directly face the audience through a new way of thinking. Here are three key innovators that the theater audience should know.
Antonin Artuad: A writer, critics and playwright inspired by the existential works of Friedrich Nietzsche and Jacques Derrida, Artoud believes that 21st century drama must be integrated into life in a romantic and modern way. Feeling and excitement. Never been able to. Faced with nihilism and a variety of traditional forms of intercultural communication, emphasizing a chaotic empire, Artuad insists on breaking the limits of language and entering the undeveloped gestures and sound space for a lasting impact on future generations of dramatists and performers.
Merce Cunningham: Although Artuad turned to philosophy and oriental culture, the dancer and choreographer incorporated the opportunity element into the organic chaos of the creative process, incorporating random choices into the composition process. While some opportunities may not be artistically usable, combining this arbitrariness allows artists to acquire new and surprising possibilities. In later life, Cunningham continued to break through the limits of performing arts media by experimenting with film and motion capture techniques, looking for new ways to document and archive these previously unique experiences.
John Cage: Cunningham's lifelong companion, inspired by the ancient Chinese text "Book of Changes", Cage applied all aspects of the opportunity to his musical performance, a divination known as the Book of Changes in the West. manual. By looking at the pattern and sequence of the manuscript, Cageought did not bring order to the chaos he saw, but instead redirected his attention; he realized the state of being. Although Cage may be best known for his work 4! 33" - four minutes and thirty-three seconds of silence from a performer sitting on the piano, the performing arts have made a lasting contribution from his work, These include unusual instruments and new recording technologies for innovative uses.
Orignal From: Three key figures in the 20th century performing arts
No comments:
Post a Comment