Performance art Pg 202-226

Dance theatre 

• rhythm charged music 
• blend of punk pop and serial 
• Karole Armitage was trained by Cunningham and Balanchine
• Continued to work hard on esoteric guidelines established
• Ultimate dance theatre was that of Pina Bausch

Live art 

• Commercialize cabaret-style performance 
• by Television and film
• The conversion of post modernism was equally monumental 
• The conversion of st paul, was intended the stillness of painting and drawing 
• Play on the painting process as live performance 

Identities 

• multiculturalism
• African american intelligentsia 
• high profile academics 
• The politics of Black performance 
• Lesbians, gays, queer, sex-workers 
• Activist groups 

New Europeans 

• Performance in European Community of the nineties was governed 
• Belgium in the avante-garde 
• Anti choreography movement

New media and performance 

• Inventing ways to incorporate technology 
• growing in numbers 
• Performance videos of the nineties 
• The bear 
• Streets of New York or Tokyo

Performance Arts pg 115-134




Frederick Kiesler

• attracted the attention of the police.
• the modernity of his robot factory. 
• The Berlin police were provoked into action by the back-projection equipment.
• wrote in his essay that making use of complex apparatus such as lift aeroplane and film.
• theatrical concept to create tension in space.

Bauhaus touring company

• importance and encouragement were given the theatre
• metal dance was reported in the Basler national Zeitung 
• Dance in space 
• opened in bare stage whose black floor was outlined
• Dance of the stage wings consisted of a number of partitions 

Living art 

Black mountain College, North Carolina

• Looking for an artist who can create a focal point for the diverse curriculum 
• Combination of discipline and inventiveness 
• Working croup composed all disciplines 

John Cage and Merce Cunningham

• Beginning to make their own ides in small circles 
• Studied fine arts 
• The art of noises 
• "ever smaller unit of a larger composition reflected as a microcosm 
• Sixteen dances for soloist

Black Mountain College 

• Cage and Cunningham had returned to Black mountain college 
• Spectators took their seats in the square arena

New school

• Despite its remote location and limited audience, news of the untitled event spread 
• Some where painters and film makers

Live art

• was the logical step from environments and assemblages
• Red Grooms found inspiration for his paintings and performances 

18 happenings in 6 parts 

• Earliest opportunities for a wider public
• Lights were strung through the subdivided space
• Spectators were warned to follow instructions 

More New York Happening 

• 18 happenings was reflected in many other performances of the time
• most artists developed their own practice 
• Dancers developed innovations in New York

Yam and You

• More performances programmes were organized in New York 
• Performance concerts were held Carnegie Recital Hall
• What is important is what the public itself takes away as a result of my images and the happenings

Performance Art pages 95-114

In this section of the book I learned that the Bauhaus was a teaching institution for the arts that opened in 1919. Unlike the rebellious futurist or dada provocations, the Bauhaus manifesto was the unification of all the arts in a cathedral of socialism. This community of the Bauhaus was held together as much by its manifesto as by the social events they organized. These events were held so that the group could experiment with performance examples. "Man and Machine" was a piece that combined the Bauhaus manifesto with the Russian Constructivist. The stage and costumes was designed to make the human figure into a machine/mechanical type object. The Bauhaus manifesto also combined their style with painting and ballet along with the Russian Constructivists' styles.

Performance Art pages 75-94

My reading began with chapter four. This chapter discusses surrealism. It involves the first paris performance. This performance began an outrage of the Parisian public. The audience of the twenties was not entirely unfamiliar with such provocative events. My readings discussed the costumes that were used during the presentations. The Salle Berlioz performance had been an attempt to give a new direction to Dada activities. There was a trial of Maurice Barrés. Following the trial, relations were strained between Picabia, Tzara and Breton. My reading talks about a show that was Relâche. It was a performance of the mud-twenties. It consisted of ballet costumes that men wire throughout the performance.

Performance Art pages 56-74

My notes are on pages 56-74 and it starts off with the Tzara reciting poetry and utilizing the theatrical technique of a chorus. The reading talks of a cabaret that demonstrates a microcosm of emotion within the human experience. Producere means to produce; in art one can produce emotion as well as artists. The cabaret proved to be a success and influenced many generations of performance art. The cabaret did not just stay in one culture but expanded onto other countries in one form or the other. The cabaret had inspired artists to evolve and create different methods to convey emotion; while displaying the power of their individual messages. the term absolute had become a vernacular used to describe dance, poetry, and art. The absolute meaning states that the minimum of impressions is enough to evoke unusual images. Eventually the cabaret began to lose popularity in the early 20th century. Dadism was introduced at the turn of the century and exhibited unusual practices to provoke thought and evoke emotion. Dada became so popular that people flocked from all over to experience the Dada revolution. Dada had started in Berlin, moved to Spain and New York, but inevitably lost popularity in Zurich.

Performance Art pages 38-55

• Production art was an ethical proclamation by the constructionists
• Broke down traditional element of French medical court face.
• Productions: called The Twins and The Theater of the four masks 
• Students are active in designing productions for Mastfor.

Revolutionary performances:

• Foregger was developing mechanistic art form
• Mechanical Dances
• Mass demonstration was organized by Nathan Altman 
• Red army was involved 
• represented revolutionary activists 

Magnificent Cuckold:

• Talks about how the stage consisted of frames of conventional theatre flats, platforms, and chutes.
• Characters new acrobatics 
• loose fitting overalls

Blue blouse and the factory of the eccentric actor

• overtly political
• involved more than 100000 people 
• in news papers 
• They were also circus actors, in film, and other productions.

Moscow is burning

• Was experiencing cultural riot 
• 1905 revolution 
• commissioned by the soviet central agency 

DADA 

• expressionist theatre performances 
• Dada activists began at the Cabaret voltaire in Zurich
• His plays were no less controversial. 
• Kokoschka in Vienna 
• Wedekinds travelled beyond Munich 
• Tried to align his work with expressionism 
• Demonstrated that the move with variations of pitch and rhythm
• Ball in Zurich 
• Hugo ball and Emmy Hennings arrived in Zurich in summer of 1915 
• Henning recently got out of prison 
• Ball was obsessed with understanding the German culture,
• wrote endless texts on philosophical malaise of time. 

Performance Art pages 19-37

Pages 19-37 of the Performance Art book talks about the mechanical moves, ballets, synthetic theater,  and Russian futurism. Mechanical movements are body actions based on staccato movements of machines. A famous work called "the Printing Press" released in 1914 was based off instructions in a private performance given for Diaghilev. 12 people, each part of the machine, performed in front of a backdrop and created a "machine," hence the mechanical movement. Russian futurism was marked by two factors, on the one hand the artists' reaction against the old order suspiciously foreign but more acceptable since it echoed this call to abandon old art forms. In this movement people walked the streets in crazy outfits, their faces painted, large top hats, velvet jackets, earrings, and spoons in their button holes. This "self-painting" was the first speech to have unknown truths.