Date Added ↓
Date Added ↑
Performance Art in the 1990s and the Generation Gap
In the 1990s, the question of the legacy of historical performance was posed with a particular sense of urgency. In the context of most pioneers of the art form having retired from live performance, reenactments not only reproduced past works but positioned artists within the genealogy of performance. The sense of the passage of a generation and the transmission of the memory of past performances were made explicit by Marina Abramović in The Biography (1992), a theatre piece in which she stages the very process of accounting for her past, as well as by Takashi Murakami and Oleg Kulik, who emerged on the art scene in the 1990s and mimicked live works from the past.
2022. Performance; Reenactment; Generation; 1990s
The Body of the Actor: Notes on the Relationship between the Body and Acting in Pasolini’s Cinema
What is the role or the function of the actor in Pasolini’s cinema? I shall try to put this very general and generic question in another way: how can we define, overall, the particular physiognomy of a Pasolini actor? There are undoubtedly some particular characteristics, but what are they exactly?
2012. Pasolini, Pier Paolo; Motion pictures; classical antiquity; Greek myths; Totò; Callas, Maria; Acting; Aeschylus - Oresteia