DOCSLIB.ORG

Muzika I Performans Umetnost-Interdisciplinarni Pristup

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Muzika I Performans Umetnost-Interdisciplinarni Pristup UNIVERZITET UMETNOSTI U BEOGRADU Interdisciplinarne studije Teorija umetnosti i medija Doktorska disertacija: Muzika i performans umetnost-interdisciplinarni pristup autor: Anica Arsić mentor: dr Tijana Popović Mlađenović, vanredni profesor Beograd, novembar, 2014. Iskreno se zahvaljujem mom mentoru, prof. dr Tijani Popović Mlađenović na nesebičnoj pomoći koju mi je pružila tokom rada. Dragocenu pomoć savetima i sugestijama pružio mi je prof. dr Miško Šuvaković na čemu mu se zahvaljujem. APSTRAKT …………………………………………………………………………… 1 ABSTRACT …………………………………………………………………………… 4 UVOD ............................................................................................................................. 7 Osnovne polazne (hipo)teze i uvidi od kojih se u radu polazi ................................... 12 Metode i pristup fenomenu muzike i performans umetnosti u istraživanju ............. 16 Očekivani rezultati istraživanja ................................................................................. 17 OD STUDIJA IZVOĐENJA DO DEFINICIJE UMETNIČKOG PERFORMANSA ... 18 UMETNIČKI PERFORMANS PRIKAZAN TEORIJOM TEKSTA ............................ 26 Rolan Bart (Roland Barthes, 1915−1980) ................................................................. 29 Julija Kristeva (1941) ................................................................................................ 32 Poruke umetničkog performansa „pročitane“ teorijama teksta .................................. 39 PSIHOANALITIČKA TEORIJA I TUMAČENJE PERFORMANS UMETNOSTI I 51 MUZIKE ......................................................................................................................... Žak Lakan (Jacues Marie Emile Lacan, 1901−1981) ................................................ 56 Umetnički performans u svetlu psihoanalitičkog diskursa ....................................... 59 ULOGA MUZIČKOG IZRAZA U UMETNIČKOM PERFORMANSU ...................... 75 UMETNIČKI PERFORMANS − KULTUROLOŠKI OBRAZAC CIVILIZACIJE - 79 KONTEKSTUALNO RAZMATRANJE NJEGOVIH ISTORIJSKI ZNAČAJNIH MUZIČKIH PUNKTOVA .............................................................................................. Elementi umetničkog performansa u ritualnom izvoĎenju ........................................ 79 Od ditiramba do opere i njenog razvoja na evropskom tlu ........................................ 82 NEPOSREDNA PREDISTORIJA UMETNIČKOG PERFORMANSA. 95 FUTURIZAM I FUTURISTIČKI PERFORMANS ....................................................... 98 Futurizam u Rusiji (kubofuturizam) .......................................................................... Performans umetnost i Dada ........................................................................................ 102 Nadrealizam i performans umetnost izmeĎu dva svetska rata ................................... 107 Bauhaus i performans umetnost ................................................................................. 112 Umetnost posle Drugog svetskog rata ....................................................................... 116 IzvoĎačke forme u Evropi posle Drugog svetskog rata - put ka umetničkom 117 performansu ................................................................................................................... Umetničke forme u SAD pred Drugi svetski rat, i u prvim decenijama posle rata, 122 koje su prethodile ili uticale na razvoj umetničkog performansa .................................. Umetnički performans - nova izvoĎačka umetnička praksa ...................................... 126 Telo umetnika kao eksperimentalni objekat .............................................................. 128 Prostor kao sadržajna odrednica umetničkog performansa ....................................... 130 133 Umetnički performans kao introspektivna analiza umetnika ..................................... Publika u umetničkom performansu ......................................................................... 134 Umetnički performans na kraju XX i početku XXI veka ......................................... 137 KULTUROLOŠKI KONCEPT SAVREMENOG UMETNIČKOG PERFORMANSA 144 STUDIJE SLUČAJA ..................................................................................................... 1 50 150 Lori Anderson ........................................................................................................... Meredit Monk ............................................................................................................ 167 Bendžamin Jusupov .................................................................................................. 186 Svetlana Spajić ......................................................................................................... 196 KULTUROLOŠKI KONCEPT SAVREMENOG UMETNIČKOG PERFORMANSA 205 ZAKLJUČAK ............................................................................................................... 212 Literatura ................................................................................................................... 234 Weborafija ................................................................................................................ 248 Biografija .................................................................................................................. 250 Muzika i performans umetnost-interdisciplinarni pristup APSTRAKT Teme kojima se bavi doktorska disertacija odnose se na ulogu muzike u umetniĉkom performansu i dinamiku strukturalnih elemenata koje ĉine umetniĉko delo. Disertacija predstavlja analitiĉku i sintetiĉku interpretaciju i reinterpretaciju tekstova iz istorije umetnosti, sociologije, antropologije, psihologije i filozofije, koji se odnose na interdisciplinarni i interaktivni pristup fenomenu umetniĉkog performansa. Obimna postojeća literatura koja se bavi analizom umetniĉkog performansa kao autonomnog i autentiĉnog umetniĉkog dela „proĉitana“ je na nov naĉin, sa akcentom na muziĉki iskaz. Muzika i pokret su baziĉne strukturalne jedinice koje su odlikovale umetniĉko stvaralaštvo. Sinergija koja je postojala izmeĊu zvuka i pokreta, prenosila se i usloţnjavala svoje izraze, od plemenski organizovanih zajednica do savremene globalne civilizacije. Preko teorijskih postavki RouzLi Goldberg, u radu su postavljni okviri definicije umetniĉkog performansa kao otvorenog dela u kome umetnici iz razliĉitih oblasti stvaralaštva eksperimentišu sa svojim idejama i uobliĉavaju ih u raziĉite izraţaje forme. Interaktivnost, multimedijalnost i interdisciplinarnost, kao glavne karakteristike umetniĉkog performansa omogućavaju mu da se eksponira kao ,,otvoreno polje kulture“ u kome se otkrivaju kulturološki obrasci ĉitavog ĉoveĉanstva. Umetniĉki performans kao delo koje nema definisanu formu, ĉije su granice fluidne i spremne da se otvore za saradnju sa drugim oblicima kulturološkog stvaralaštva, moţe da se postavi u analognu ravan sa teorijama teksta i jezika. Znak, označitelj i označeno dekomponovali su tekst i otvorili njegove granice za komunikaciju sa drugim tekstovima. Pošto je umetniĉki performans po definiciji otvoreno delo, izvršena je dinamska analiza umetniĉkog performansa po analogiji sa lingvistiĉkim teorijama Rolana Barta i Julije Kristeve. Analizom structure umetniĉkog performansa detektovani su znak i njegove dijalekiĉke komponente–označitelj i označeno. Implementacijom koda i ideologema Julije Kristeve, umetniĉki performans je dobio sve elemente teksta i „proĉitan“ je preko poznatih dela velikih performans umetnica Joko Ono, Marine Abramović i Đine Pane. 1 Intertekstualnost kao interaktivna kategorija lingvistiĉke terorije Julije Kristeve, predstavljena je u radu analizom dinamike izvoĊenja, gde je telo umetnika apostrofirano kao znak, koji moţe da se prezentuje kao celovit objekat ili kao niz znakova definisanih svakim delom umetnikovog tela. Telo umetnika, kao niz nezavisnih znakova otvara mogućnost da se svaki od njih eksponira kao označitelj strukturalnog subjektiviteta, i istovremeno da nosi odlike označenog, jer se nalazi po uticajem drugog subjekta. Telo-znak u umetniĉkom performansu tokom procesa oznaĉavanja moţe da prestavlja označitelja, koji drugu dijalektiĉku komponentu pronalazi u komunikaciji sa publikom u ulozi označenog. Posto je subjekat oznaĉenog (publika) kompleksno strukturiran, interakcija izmeĊu označitalja (umetnika) i označenog (publike) ne moţe da se odvija po unapred koncipiranom scenariju. Oznaĉiteljski proces koji se odvija tokom interakcije izmeĊu umetnika i publike predstavlja autohtono i originalno delo. Svaki segment procesa ima sopstvenu dinamiku, koja trenutku u kome je zabeleţena, daje nov sadrţaj koji moţe da se posmatra kao novo umetniĉko delo. Psihoanalitiĉke teorije su idejom o sloţenom mentalnom sistemu ĉoveka, ĉiji se elementi nalaze u neprekidnim interakcijama, predstavljale ekvivalnet za strukturalnu analizu umetniĉkog performansa. Pošto je umetniĉki performans umetnost akcije, a akcija je produkt kognitivnih, konativnih i emotivnih snaga, osnovnim postulatima psihoanalitiĉkih teorija tumaĉen je diskurs akcije. U umetniĉkom performansu energija koju produkuje telo umetnika biva transformisana u akciju. Ona se polarizuje po ontološkim principima, omeĊena osnovnim instinktima-Erosom i Tanatosom. Pokrenuto ovim instinktima, telo umetnika svakim svojim segmentom eksponira doţivljaje, dogaĊaje i osećaje. Svaka od ovih mentalnih kategorija projektuje sopstvenu energiju koja modelira iskaz umetniĉkog dela. Telo performans umetnika prezentovano je kao pozornica, na kojoj svaki njegov deo ima ulogu
Load more

Recommended publications
  • MEREDITH MONK and ANN HAMILTON: Aaron Copland Fund for Music, Inc
    The House Foundation for the Arts, Inc. | 260 West Broadway, Suite 2, New York, NY 10013 | Tel: 212.904.1330 Fax: 212.904.1305 | Email: [email protected] Web: www.meredithmonk.org Incorporated in 1971, The House Foundation for the Arts provides production and management services for Meredith Monk, Meredith Monk & Vocal Ensemble, and The House Company. Meredith Monk, Artistic Director • Olivia Georgia, Executive Director • Amanda Cooper, Company Manager • Melissa Sandor, Development Consultant • Jahna Balk, Development Associate • Peter Sciscioli, Assistant Manager • Jeremy Thal, Bookkeeper Press representative: Ellen Jacobs Associates | Tel: 212.245.5100 • Fax: 212.397.1102 Exclusive U.S. Tour Representation: Rena Shagan Associates, Inc. | Tel: 212.873.9700 • Fax: 212.873.1708 • www.shaganarts.com International Booking: Thérèse Barbanel, Artsceniques | [email protected] impermanence(recorded on ECM New Series) and other Meredith Monk & Vocal Ensemble albums are available at www.meredithmonk.org MEREDITH MONK/The House Foundation for the Arts Board of Trustees: Linda Golding, Chair and President • Meredith Monk, Artistic Director • Arbie R. Thalacker, Treasurer • Linda R. Safran • Haruno Arai, Secretary • Barbara G. Sahlman • Cathy Appel • Carol Schuster • Robert Grimm • Gail Sinai • Sali Ann Kriegsman • Frederieke Sanders Taylor • Micki Wesson, President Emerita MEREDITH MONK/The House Foundation for the Arts is made possible, in part, with public and private funds from: MEREDITH MONK AND ANN HAMILTON: Aaron Copland Fund for
    [Show full text]
  • BILLY SULLIVAN *1946 in New York, USA Lives and Works in New York City
    BILLY SULLIVAN *1946 in New York, USA Lives and works in New York City Education Depuis 1788 1968 School of Visual Arts, New York, NY, USA 1964 High School of Art and Design, New York, NY, USA Freymond-Guth Fine Arts Riehenstrasse 90 B Teaching CH-4058 Basel T +41 (0)61 501 9020 1997 The School of Visual Arts, New York: BFA Photo Thesis offi[email protected] 2012–14 New York University: MFA Program, Studio Art, Steinhardt School of www.freymondguth.com Culture, Education, and Human Development 2003–06, New York University, Interactive Telecommunication Program 2010–14 1999 Harvard University, The Department of Visual and Environmental Studies Solo Shows (selection) 2016 Monteverdi Art Gallery, Sarteano, Tuscany, curated by Sarah McCrory kaufmann repetto, New York 2015 Ille Arts, Amagansett, NY, USA 2014 Time after Time, Freymond-Guth Fine Arts, Zurich, CH Blush, Galerie Sabine Knust, Munich, DE 2012 Bird Drawings, Glenn Horowitz Bookseller, East Hampton, NY, USA Nicole Klagsbrun Gallery, New York, NY, USA 2011 Still, Looking, Kaufmann Repetto, Milan, IT Now & Then, Baldwin Gallery, Aspen, CO, USA 2010 Susanne Hilberry Gallery, Ferndale, MI, USA East End Photographs 1973-2009, Salomon Contemporary, East Hampton, NY, USA 2009 Galerie Sabine Knust, Munich, DE Conversations, Nicole Klagsbrun Gallery, New York, NY, USA 2008 Regen Projects, Los Angeles, CA, USA Rebecca Ibel Gallery, Columbus, OH, USA Texas Gallery, Houston, TX, USA 2007 Guild Hall, East Hampton, NY, USA Galleria Francesca Kaufmann, Milan, IT 2006 New Work, Rebecca Ibel Gallery,
    [Show full text]
  • Gary Moore: Ohne Bluesrock Kein Erfolg
    EUR 7,10 DIE WELTWEIT GRÖSSTE MONATLICHE 05/07 VINYL -/ CD-AUKTION Mai Gary Moore: Ohne Bluesrock kein Erfolg. 2 Oldie-Markt 5/07 Schallplattenbörsen Plattenbörsen 2007 Schallplattenbörsen sind seit einigen Jahren fester Bestandteil der europäischen Musikszene. Steigende Besucherzahlen zeigen, dass sie längst nicht mehr nur Tummelplatz für Insider sind. Neben teuren Raritäten bieten die Händler günstige Second-Hand-Platten, Fachzeitschriften, Bücher Lexika, Poster und Zubehör an. Rund 250 Börsen finden pro Jahr allein in der Bundesrepublik statt. Oldie-Markt veröffentlicht als einzige deutsche Zeitschrift monatlich den aktuellen Börsenkalender. Folgende Termine wurden von den Veranstaltern bekannt gegeben: Datum Stadt/Land Veranstaltungs-Ort Veranstalter / Telefon 28. April Mannheim Rosengarten Wolfgang W. Korte (061 01) 12 86 60 28. April Halle Händelhalle First & Last (03 41) 699 56 80 29. April Trier Europahalle Wolfgang W. Korte (061 01) 12 86 60 29. April Braunschweig Stadthalle First & Last (03 41) 699 56 80 29. April Ulm Donauhalle Robert Menzel (07 31) 605 65 29. April Innsbruck/Österreich Hütterheim Werner Stoschek (085 09) 26 09 5. Mai Passau X-Point Halle Werner Stoschek (085 09) 26 09 12. Mai Karlsruhe Badnerlandhalle Wolfgang W. Korte (061 01) 12 86 62 12. Mai Regensburg Antonius Halle Werner Stoschek (085 09) 26 09 13. Mai Leipzig Werk II First & Last (03 41) 699 56 80 13. Mai München Elserhalle Skull Concerts (089) 45 67 87 56 19. Mai Salzburg/Österreich Kleingmainer Saal Werner Stoschek (085 09) 26 09 20. Mai Köln Theater am Tanzbrunnen Wolfgang W. Korte (061 01) 12 86 62 27. Mai Neerkant/Holland De Moost Oldies Club (00 31) 774 65 35 69 Achtung! An Alle Leser! Einsendeschluss für die Aution 343 ist der 14.
    [Show full text]
  • A. Mihalyi: Meredith Monkl, WAM Casopis, Recenzije, Glazba, Classical
    MAGIJA VOKALA MEREDITH MONK Aleksandar Mihalyi Ako bi smo odabrali kreativno uspješnu i jedinstvenu skladateljicu i vokalisticu temeljem uspješnosti njezinog dosadašnjeg djelovanja te glasovnih mogućnosti koje izmiču uobičajenim klasifikacijama, onda bi se Meredith Jane Monk nametnula kao prvi izbor. Dodatni povod je i obilježavanje njezinog 70. rođendana ove godine – rođena je 1942. godine u New Yorku, SAD. Njezina pozicija vodeće umjetnice u američkoj avangardnoj glazbi traje od Karijeru je započela kasnih šezdesetih kao plesačica i koreograf kada je samih početaka minimalizma, a već i tada je imala izdvojenu poziciju jer je izučila umijeće poniranja do esencijalne ekspresivnosti pokretom, te nedugo vokalnu tehniku temeljila na istočnjačkim tradicijama (tzv. ekstenizirani glas zatim i glasom prije nego riječima. Monk u ovom kontekstu ističe da se – ponajprije upotrebom posebnih tehnika disanja) te u ponavljanju kratkih riječima štitimo od direktnog iskustva – tijelo treba pustiti da se fraza sličnim mantri (što su činili i ostali minimalisti). Na tu njenu izdvojenu izražava/reagira glasom (vokalizama) i pokretom. Potom, u vrijeme poziciju ponajviše je utjecalo njezino rano pohađanje škole euritmije koje tolerantne klime za diletantizam kada otkriva u sebi: „.. snažniji kreativni joj je potom i usmjerilo karijeru, odnosno interese ka povezivanju glazbe sa od interpretativnog impulsa“, ona započinje i svoju glazbenu karijeru kao pokretom s ciljem da glazbi scenom i koreografijom doda mitsko i povijesno pjevačica (inače ima izniman lirski sopran širokog raspona) i skladateljica, tumačenje. No, teško se kod nje ne može govoriti o eklekticizmu budući da kompletirajući tako autorstvo svojim scenskim djelima, koja se, uz neke Monk ponajprije asimilira ono što drži potrebnim za tehnički aspekt njezinih ograde, mogu svrstati u glazbeni teatar.
    [Show full text]
  • Confrontation, Simulation, Admiration
    Confrontation, Simulation, Admiration The Wooster Group’s Poor Theater Kermit Dunkelberg The punning title of The Wooster Group’s Poor Theater, shown as a work-in- progress in the spring and late fall of at the Performing Garage on Wooster Street in New York, invites many interpretations. Does it suggest the- atre that is: Poorly executed? Poorly funded? To be lamented? All of the above? Is this the Wooster Group’s retort to Grotowski’s “poor theatre” of reduced means and monastic discipline (Grotowski ), or their own version of it? The Wooster Group’s self-mocking, reverent/irreverent, high-tech/low-tech, nostalgic/derisive production questions the state of contemporary performance by trying on the styles of a vanished group (the Polish Laboratory Theatre, dis- solved in ) and a vanishing one (the Ballett Frankfurt, disbanded in August —half a year after Poor Theater had its first showing). My focus in this article is on the sections of Poor Theater that deal with Grotowski’s Polish Laboratory Theatre (–). I see the Wooster Group’s production in light of the history of reception/rejection/appropriation of Grotowski’s work in the United States. In the wake of Grotowski’s first American workshop at New York University in , Richard Schechner founded The Performance Group. In the mid-s, the Wooster Group grew out of The Performance Group, be- coming an independent entity in . Poor Theater is in part a confrontation with an ancestor. In the spring program, “The Director” noted the importance of ancestors: The writers, the great writers of the past, have been very important to me, even if I have struggled against them.
    [Show full text]
  • Contributions by Employer
    2/4/2019 CONTRIBUTIONS FOR HILLARY CLINTON FOR PRESIDENT HOME / CAMPAIGN FINANCE REPORTS AND DATA / PRESIDENTIAL REPORTS / 2008 APRIL MONTHLY / REPORT FOR C00431569 / CONTRIBUTIONS BY EMPLOYER CONTRIBUTIONS BY EMPLOYER HILLARY CLINTON FOR PRESIDENT PO Box 101436 Arlington, Virginia 22210 FEC Committee ID #: C00431569 This report contains activity for a Primary Election Report type: April Monthly This Report is an Amendment Filed 05/22/2008 EMPLOYER SUM NO EMPLOYER WAS SUPPLIED 6,724,037.59 (N,P) ENERGY, INC. 800.00 (SELF) 500.00 (SELF) DOUGLASS & ASSOCI 200.00 - 175.00 1)SAN FRANCISCO PARATRAN 10.50 1-800-FLOWERS.COM 10.00 101 CASINO 187.65 115 R&P BEER 50.00 1199 NATIONAL BENEFIT FU 120.00 1199 SEIU 210.00 1199SEIU BENEFIT FUNDS 45.00 11I NETWORKS INC 500.00 11TH HOUR PRODUCTIONS, L 250.00 1291/2 JAZZ GRILLE 400.00 15 WEST REALTY ASSOCIATES 250.00 1730 CORP. 140.00 1800FLOWERS.COM 100.00 1ST FRANKLIN FINANCIAL 210.00 20 CENTURY FOX TELEVISIO 150.00 20TH CENTURY FOX 250.00 20TH CENTURY FOX FILM CO 50.00 20TH TELEVISION (FOX) 349.15 21ST CENTURY 100.00 24 SEVEN INC 500.00 24SEVEN INC 100.00 3 KIDS TICKETS INC 121.00 3 VILLAGE CENTRAL SCHOOL 250.00 3000BC 205.00 312 WEST 58TH CORP 2,000.00 321 MANAGEMENT 150.00 321 THEATRICAL MGT 100.00 http://docquery.fec.gov/pres/2008/M4/C00431569/A_EMPLOYER_C00431569.html 1/336 2/4/2019 CONTRIBUTIONS FOR HILLARY CLINTON FOR PRESIDENT 333 WEST END TENANTS COR 100.00 360 PICTURES 150.00 3B MANUFACTURING 70.00 3D INVESTMENTS 50.00 3D LEADERSHIP, LLC 50.00 3H TECHNOLOGY 100.00 3M 629.18 3M COMPANY 550.00 4-C (SOCIAL SERVICE AGEN 100.00 402EIGHT AVE CORP 2,500.00 47 PICTURES, INC.
    [Show full text]
  • Battles Around New Music in New York in the Seventies
    Presenting the New: Battles around New Music in New York in the Seventies A Dissertation SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Joshua David Jurkovskis Plocher IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY David Grayson, Adviser December 2012 © Joshua David Jurkovskis Plocher 2012 i Acknowledgements One of the best things about reaching the end of this process is the opportunity to publicly thank the people who have helped to make it happen. More than any other individual, thanks must go to my wife, who has had to put up with more of my rambling than anybody, and has graciously given me half of every weekend for the last several years to keep working. Thank you, too, to my adviser, David Grayson, whose steady support in a shifting institutional environment has been invaluable. To the rest of my committee: Sumanth Gopinath, Kelley Harness, and Richard Leppert, for their advice and willingness to jump back in on this project after every life-inflicted gap. Thanks also to my mother and to my kids, for different reasons. Thanks to the staff at the New York Public Library (the one on 5th Ave. with the lions) for helping me track down the SoHo Weekly News microfilm when it had apparently vanished, and to the professional staff at the New York Public Library for Performing Arts at Lincoln Center, and to the Fales Special Collections staff at Bobst Library at New York University. Special thanks to the much smaller archival operation at the Kitchen, where I was assisted at various times by John Migliore and Samara Davis.
    [Show full text]
  • The Musical Worlds of Julius Eastman Ellie M
    9 “Diving into the earth”: the musical worlds of Julius Eastman ellie m. hisama In her book The Infinite Line: Re-making Art after Modernism, Briony Fer considers the dramatic changes to “the map of art” in the 1950s and characterizes the transition away from modernism not as a negation, but as a positive reconfiguration.1 In examining works from the 1950s and 1960s by visual artists including Piero Manzoni, Eva Hesse, Dan Flavin, Mark Rothko, Agnes Martin, and Louise Bourgeois, Fer suggests that after a modernist aesthetic was exhausted by mid-century, there emerged “strategies of remaking art through repetition,” with a shift from a collage aesthetic to a serial one; by “serial,” she means “a number of connected elements with a common strand linking them together, often repetitively, often in succession.”2 Although Fer’s use of the term “serial” in visual art differs from that typically employed in discussions about music, her fundamental claim I would like to thank Nancy Nuzzo, former Director of the Music Library and Special Collections at the University at Buffalo, and John Bewley, Archivist at the Music Library, University at Buffalo, for their kind research assistance; and Mary Jane Leach and Renée Levine Packer for sharing their work on Julius Eastman. Portions of this essay were presented as invited colloquia at Cornell University, the University of Washington, the Graduate Center of the City University of New York, Peabody Conservatory of Music, the Eastman School of Music, Stanford University, and the University of California, Berkeley; as a conference paper at the annual meeting of the Society for American Music, Denver (2009), and the Second International Conference on Minimalist Music, Kansas City (2009); and as a keynote address at the Michigan Interdisciplinary Music Society, Ann Arbor (2011).
    [Show full text]
  • THE ARMITAGE BALLET • MEREDITH MONK an ARTIST and HER MUSIC BROOKLYN ACADEMY of MUSIC Harvey Lichtenstein, President and Executive Producer
    ~'f& •. & OF MUSIC THE ARMITAGE BALLET • MEREDITH MONK AN ARTIST AND HER MUSIC BROOKLYN ACADEMY OF MUSIC Harvey Lichtenstein, President and Executive Producer BAM Carey Playhouse November 20-22, 1987 presents MEREDITH MONK AN ARTIST AND HER MUSIC with ALLISON EASTER WAYNE HANKIN ROBERTEEN NAAZ HOSSEINI CHING GONZALEZ NICKY PARAISO ANDREA GOODMAN NURIT TILLES and guest artist BOBBY McFERRIN Music Composed by Lighting Designed by MEREDITH MONK· TONY GIOVANNETTI Costumes Designed by 1echnical Director Stage Manager YOSHIO YABARA DAVID MooDEY PEGGY GOULD Sound 1echnician Costume Assistant DAVE MESCHTER ANNEMARIE HOLLANDER Meredith Monk: An Artist And Her Music is presented in association with THE HOUSE FOUNDATION FOR THE AIUS, INC. The music events of the NEXT WAVE Festival are made possible, in part, with a grant from the MARY FLAGLER CARY CHARITABLE TRUST BROOKLYN ACADEMY OF MUSIC E i ;II-----,FEIS;~AL·1 SPONSORED BY PHILIP MORRIS COMPANIES INC. The 1987 NEXT WAVE Festival is sponsored by PllILIPMORRISCOMPANIES INC. The NEXT WAVE Production and Touring Fund and Festival are supported by: the NATIONAL ENDOWMENT FORTIlE AKfS, TIlEROCKEFELLER FOUNDATION, TIlEFORD FOUNDATION, TIlE ELEANOR NAYWR DANA CHARITABLE TRUST, PEW CHARITABLE TRUSTS, the BOOI'II FERRIS FOUNDATION, TIlE IlENRYLuCEFOUNDATlON, INC., theAT&if FOUNDATION, TIlEHOWARD GILMAN FOUNDATION, TIlEWILLIAM AND FIDRA HEWLEITFOUNDATlON, theMARY FLAGLER CARY CHARITAl'LETRUST, TllEHINDUJAFOUNDATlON, TIlEEDUCATIONAL FOUNDATION OFAMERICA, the MORGAN GUARANTY TRUST coMPANY, ROBERI' w. WILSON, 'DIEREFJ)FOUNDATION INC., theEMMA A. SIIEAFERCHARITABLE TRUST, SCHLUMBERGER, YVES SAINT LAURENT INTERNATIONAL, andtheNEW lQRK STATE COUNCD.. ON TIlE AR1K Additional funds for the NEXT WAVE Festival are provided by: TIlEBEST PRODUcm FOUNDATION, C~OLA ENTEKI'AINMENT, INC., MEET TIlECOMPOSER, INC., the CIGNA CORPORATION, TIlEWILLIAM AND MARY GREVE FOUNDATION, INC., the SAMUEL I.
    [Show full text]
  • OOT 2020 Packet 10.Pdf
    OOT 2020: [The Search for a Middle Clue] Written and edited by George Charlson, Nick Clanchy, Oli Clarke, Laura Cooper, Daniel Dalland, Alexander Gunasekera, Alexander Hardwick, Claire Jones, Elisabeth Le Maistre, Matthew Lloyd, Lalit Maharjan, Alexander Peplow, Barney Pite, Jacob Robertson, Siân Round, Jeremy Sontchi, and Leonie Woodland. THE ANSWER TO THE LAST TOSS-UP SHOULD HAVE BEEN: Henry Packet 10 Toss-ups: 1. Rana Sweid and Eyal Goldman attend this tournament in the experimental film Strangers. The manager of one team in this tournament said after one match that ‘Jesus Christ may be able to turn the other cheek, but [one player] isn't Jesus Christ’. Another player was called ‘the most hated man in Trinidad and Tobago’ after pulling Brent Sancho’s dreadlocks before scoring a header for England in this tournament. Valentin Ivanov handed out four red cards and sixteen yellows during a match in this tournament between Portugal and the Netherlands called ‘the Battle of Nuremberg’. David Trezeguet missed the only penalty in its final. Zinedine Zidane was sent off for head-butting a player in the final of, for 10 points, what football tournament hosted by Germany? ANSWER: 2006 FIFA World Cup [prompt on World Cup with ‘which year?’] <GDC> 2. A hypothesis named for a thinker from this country claims that scientific advancement is mainly the result of the work of mediocre researchers. One thinker from this country tried to resolve the conflict between experience and reason by developing the concept of ‘ratio-vitalism’. That thinker from this country argued for a life lived nobly as opposed to as a ‘mass-man’ in their work The Revolt of the Masses.
    [Show full text]
  • Full Cast & Credits
    DANSPACEPROJECT40 YOU MAKE THE DIFFERENCE. Help us celebrate 40 years of Danspace Project! Donate at danspaceproject.org/supportjoin ABOUT DANSPACE PROJECT Founded in 1974, Danspace Project presents new work in dance, supports a diverse range of choreographers in developing their work, encourages experimentation, and connects artists to audiences. Now in its fourth decade, Danspace Project has supported a vital community of contemporary dance artists in an environment unlike any other in the United States. Located in the historic St. Mark’s Church in-the-Bowery, Danspace shares its facility with the Church, The Poetry Project, and New York Theatre Ballet. Danspace Project’s Commissioning Initiative has commissioned over 450 new works since its inception in 1994. Danspace Project’s Choreographic Center Without Walls (CW²) provides context for audiences and increased support for artists. Our presentation programs (including Platforms, Food for Thought, DraftWork), Commissioning Initiative, residencies, guest artist curators, and contextualizing activities and materials are core components of CW² offering a responsive framework for artists’ works. Since 2010, we have produced eight Platforms, published eight print catalogues and five e-books, launched the Conversations Without Walls discussion series, and explored models for public discourse and residencies. FOLLOW US! Facebook: Danspace Project Instagram: DanspaceProject Twitter: @DanspaceProject Tumblr:danspaceproject.tumblr.com www.danspaceproject.org BE FIRST. Join us in celebrating 40
    [Show full text]
  • Fluxus Reader By: Ken Friedman Edited by Ken Friedman ISBN: 0471978582 See Detail of This Book on Amazon.Com
    The Fluxus Reader By: Ken Friedman Edited by Ken Friedman ISBN: 0471978582 See detail of this book on Amazon.com Book served by AMAZON NOIR (www.amazon-noir.com) project by: PAOLO CIRIO paolocirio.net UBERMORGEN.COM ubermorgen.com ALESSANDRO LUDOVICO neural.it Page 1 PART I THREE HISTORIESPART I THREE HISTORIESPART I THREE HISTORIES Page 2 Page 3 Ben Patterson, Terry Reilly and Emmett Williams, of whose productions we will see this evening, pursue purposes already completely separate from Cage, though they have, however, a respectful affection.' After this introduction the concert itself began with a performance of Ben Patterson's Paper Piece. Two performers entered the stage from the wings carrying a large 3'x15' sheet of paper, which they then held over the heads of the front of the audience. At the same time, sounds of crumpling and tearing paper could be heard from behind the on-stage paper screen, in which a number of small holes began to appear. The piece of paper held over the audience's heads was then dropped as shreds and balls of paper were thrown over the screen and out into the audience. As the small holes grew larger, performers could be seen behind the screen. The initial two performers carried another large sheet out over the audience and from this a number of printed sheets of letter-sized paper were dumped onto the audience. On one side of these sheets was a kind of manifesto: "PURGE the world of bourgeois sickness, `intellectual', professional & commercialised culture, PURGE the world of dead art, imitation, artificial art, abstract art, illusionistic Page 4 [...] FUSE the cadres of cultural, social & political revolutionaries into united front & action."2 The performance of Paper Piece ended as the paper screen was gradually torn to shreds, leaving a paper-strewn stage.
    [Show full text]