The outline of the development of Performance Art features happenings in New York and Vienna in the sixties as well as body art and performances with closed circuits in the seventies (among others). Action Art, Environmental Theater and Intermedia are the terms defining the main characteristics of the works discussed. The research method is mainly based on Intertextuality (Mikhail Mikhailovich Bakhtin) and Systems Theory (Niklas Luhmann).
An essay that weaves historical perspectives with a unique interpretation of Kerensa Dewantoro’s performance art’s of Menjahit Marat Sade/ Sewing Marat Sade in Urban Kampong Dago Pojok, Bandung-Indonesia
theater history; copyright and the performing arts; digital humanities
I am an Associate Professor in the Visual Arts Department at Brock University’s Marilyn I. Walker School of Fine & Performing Arts.
For scholars working on questions about medicine, healing, health, and illness using theories and methods from the humanities, fine and performing arts, and social sciences. All area studies (Asia, Africa, Europe, North America, etc.) are welcome.
I coordinate Audiovisual and Digital Humanities collections, as well as serve as the librarian for English and American literature and performing arts (including film studies) at Michigan State University Libraries.
20th/21st century Latin American literature, Chicano/ US Latino literature and culture, Hemispheric American, Film Studies, Theater/ Performance Art, Spanish for Heritage Speakers
Amy is the Fine & Performing Arts Librarian at the University of Nevada, Reno (UNR) where she serves faculty, students, and staff in the School of the Arts, specifically the Art, Music, and Dance and Theatre departments. She works closely with faculty and librarians to support digital humanities projects and technology in the arts.
Considerations on how VestAndPage facilitate a workshop on Performance art. Text published in: “How We Teach Performance Art: University Courses and Workshop Syllabus”, Edited by Valentin Torrens. Outskirts Press, July 2014. The book offers 42 different approaches to transmit the generative source of creativity in live action by internationally experienced practitioners, teachers and theorists of performance art from 21 countries. 340 pages full of ideas, points of view, methodologies, sensitivities, exercises and proposals to enjoy live practice with deeper involvement immersion, knowledge and study. The book begins with a clarification of the terms used to name this practice and continues with the cultural introductions previously to the appearance of the performance as an artistic differentiated activity. To see the performance’s creative nature and its relation with the game; its communicative qualities and his perception. It’s followed by a report on previous books and publications related to the pedagogies of the performance. Later, a description of education affiliations, inside the pedagogic common tendencies of performance courses. An approach to courses and workshop’s characteristics. It’s begun with the syllabus and the comments of the university courses and continues with the workshops. Some teachers have sent a text on their relation to the performance; in those cases, it’s placed before the description of the syllabus, in order to complement, from the subjective intimacy, our best comprehension of his work and his course. After the entire syllabus, there is a small biographical summary of the authors and bibliography on performance.
Since retiring, I completed psychoanalytic training at the San Francisco Center for Psychoanalysis as a research candidate, using that clinical experience to teach occasional courses on psychoanalysis and literature, and to write, most recently on the novels of Ian McEwan. I’ve also returned to an old interest in performance arts, and am studying acting.