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Beyond Performance Curtis Carter Marquette University, Curtis.Carter@Marquette.Edu Marquette University e-Publications@Marquette Philosophy Faculty Research and Publications Philosophy, Department of 1-1-1993 Beyond Performance Curtis Carter Marquette University, [email protected] Published version. "Beyond Performance," in Jan Fabre: Texts on His Theatre-Work. Ed. Sigrid Bousset. Brussel: Kaaitheater, 1993: 13-26. Publisher Link. © 1993 Kaaitheater. Used with permission. Kaaitheater / Theater Am Turm I 3 Beyond Performance; re Jan Fabre Curtis L. Carter The terms "performance" and "theater" historically have been linked so that performance is what we expect to see in the theater, and performing is what we believe actors of the theater do. Herbert Blau's remarks in a recent issue of 'Discourse' devoted to performance, underscore this point: "There was a time, in a simpler world than this, when if you thought about performance you were thinking about the theater, focused upon the actor developing a character from a dramatic text, with more or less verisimilitude of psychological realism. "I However, with the emer­ gence over the past forty years of performance art, which has variously represented itself as anti-art and also in opposition to past and current theater practices, performance art has become recognized as a medium in its own right. Consequently, the relation of performance to theater is less certain than it was in the beginning. Are the differences arising be­ tween theater and performance art essentially about differing practices, centering for instance, on the use of trained actors to interpret a charac­ ter in a text? Performance artists have in the past made works by using their own bodily actions under the guidance of a concept, and without the help of acting skills. Similarly performance artists rejected directing and rehearsals and frequently presented their works outside the theater: in galleries, clubs, or even in the streets. Or are ideological differences encompassing a desire to reform institutionalized theater the central is­ sue? Perhaps the immediate origins of performance art can be traced to the action paintings of artists such as Jackson Pollock and others whose explorations with new forms of painting included the act of performing a painting. As is well known, more exaggerated anti-art happenings followed. Then came solo performances by artists such as Vito Acconci, r 4 Beyond Performance / Curtis L. Carter Chris Burden, Valie Export, Rachel Rosenthal and others in the seven­ ties and eighties. If many of them performed solo, others such as Richard Forman and Tadeusz Kantor developed ensemble works that fall some­ where near the borders of performance art and theater. Frequently such works harkened back to the dada and futurist anti-art ideas of earlier generations of artists and were often conceptual as opposed to aestheti­ cally based works. At times, the term performance art has embraced events consisting essentially of exhibitionist personalities acting out their fantasies or delusions in more or less structured situations; in other instances the performances are based on highly original performance ideas. Today, it is not uncommon to refer to performance art in the past tense as if it were no longer a significant force, or at least to question the extent to which it can continue to function as a viable, experimental, anti-art force given the changing climate that has emerged in the eighties and nineties. It cannot be said that performance art has ceased to exist, for senior artists such as Rachel Rosenthal continue to perform, and new performance artists continue to emerge. For the most part the current performances are centered on political and social issues: Rosenthal's eco­ logical themes, Tim Miller's focus on male sexuality, Adrian Piper's Mrican-American and Guillermo Gomez-Peiia and Coco Fusco's Mexican-American works both of which address multi-cultural issues. This is not to say that political and social themes were absent from earlier works of performance art. However, it appears that performance artists of today are less and less self-reflexive about the nature of art it­ self or of the artist. Perhaps this is in part a sign of the decline in ideological strife of the eighties which flowed from neo-Marxist, neo­ Freudian, Post-Structuralist theory and criticism and the debates con­ cerning modernism within the arts community. Or perhaps it is the near apocalyptic urgency of our times that compels artists to address major social and ecological concerns that affect our very being and the future survival of the world. The circumstances affecting the status of performance art today may warrant rethinking its relationship to theater. As performance art adopts dramatic staged effects and other staples of vocabulary of theater, Beyond Performance I Curti. L. Carter 15 it has in part been embraced by the theater that it once opposed and per­ haps can now be considered as a genre of experimental theater in its own right. Performance art now includes practitioners who employ acting skills as well as participants who continue to rely on untrained bodily actions to create their works. Further, as elements of popular culture are incorporated into performances and theater audiences are in search of more excitement than is available in the conventional theater, audiences for performance art have expanded. In some instances attending per­ formance events has become chic, embraced by theater audiences ex­ tending beyond a small but loyal inner circle where it began, and closer to mainstream theater. It is doubtful that such audiences distinguish per­ formance from theater in the way that the performance art practitioners in their prior stages might have desired. Hence the earlier opposition of performance and theater seems to have subsided as the two have come into closer proximity. In the context of the current discourse on performance and theater noted above, I hope to provide some insight into Jan Fabre's work and his place in the performing arts of the past decade, and also to shed some light on the current and future state of the relation of performance to theater. In so framing the discussion, I am aware that few artists ap­ preciate having their work categorized under broad concepts such as performance or theater. While such concepts may contribute to the clari­ ty of discourse, they may not do justice to the distinctive features of the artist's work. This will apply especially to the work of Fabre who, from the beginning, has fiercely insisted on the freedom to express his own concepts as independently as possible from any constraints. In an inter­ view for the exhibition catalogue 'Homo Fabre' (1981), Fabre declares: "To me there are no limits in any medium ( ... ) I want to work with all possible media and in such a way I do not have to be the victim of limita­ tions ( ... ) I do not want to be a painter, nor a performer, or a writer ( ... ) I simply want to do what I like". 2 Although his own early works made in 1980-81 included live solo per­ formances, he had at that time already become skeptical about the medi­ um of performance art. In the previously mentioned interview Fabre stated: "In the beginning I saw something in the medium of performance ( ... ) Performance is something there was a need for at a certain time, Beyond Performance / Curti!; L. Carter 16 in an evolution, but nowadays it belongs to the past". 3 He particularly questioned the practice of certain artists who, capitalizing on the growing popularity of performance, kept repeating the same performances over and over at various festivals. His solution was to make a series of non­ repeated live solo performances dealing essentially with issues relating to art and the concept of an artist. I first became aware of Fabre's work in 1980 when he was creating and performing these solo performances. The first series of three pieces was about money or rather about art and money, and they were performed in Antwerp and Ghent during 1979-1980. The first piece I saw was 'Money (art) in Culture' (summer of 1980), per­ formed in Ghent in the back of an old tavern for an international confe­ rence of aestheticians. The audience was seated or standing in the small space very close to where Fabre was making the work. The artist had col­ lected in advance from the audience and the conference sponsors several hundred dollars worth of currency from the different nations - Belgium, The Netherlands, The U.S.A., Australia, Denmark, Poland, and others. In the beginning he distributed money to the audience members, then collected the money and arranged it on a yard square of white paper lo­ cated on the floor, and formed the word "art" using the money. He and members of the audience together arranged the money again on the pa­ per, which Fabre had covered with paste. Fabre meanwhile placed a por­ tion of the currency in a bucket and set fire to it, as the audience regis­ tered audible shock and discomfort. A sufficient amount of money (not all as the artist also needed to be paid) to generate a bright flame that rose above the top rim of the bucket. Fabre then poured the ashes from the bucket onto the white paper covered with cash and inscribed on it the word "culture". He then lifted up the finished work and auctioned off the piece to who else but a philosopher, thus completing the performance. The piece obviously tested the tolerance of the audience concerning the powerful symbolism that money carries as it represents not only public authority and power (it is against the law to burn currency in most coun­ tries), but also is valued for its contributions to the necessities and plea­ sures oflife.
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