Practices Of Relations In Task-dance And The Event-score: A Critique Of Performance (routledge Advances In Theatre & Performance Studies)

In this study, Josefine Wikström challenges a concept of performance that makes no difference between art and non-art and argues for a new concept. This book confronts and criticises the way in which the dominating concept of performance has been used in art theory and performance and dance studies. Through an analysis of 1960s performance practices, Wikström focuses specifically on task-dance and event-score practices and provides an examination of the key philosophical concepts that are inseparable from such a concept of art and are necessary for the reconstruction of a critical concept of performance, such as “practice”, “experience”, “object”, “abstraction” and “structure”. This book will be of great interest to scholars, students and practitioners across dance, performance art, aesthetics and art theory. Cover 1 Half Title 2 Series 3 Title 4 Copyright 5 Dedication 6 Contents 8 Acknowledgements 10 Introduction: from a cultural to a critical concept of performance in art 12 Performance, performativity and its disciples 15 Marx’s epistemology: a critical methodology 21 Post-mediality and a generic concept of performance 25 Task-dance and the event-score: epistemological problems 27 Chapter summary 31 1 Practice: performance, a practice of relations 40 Practice and a metaphysics of practice in Aristotle 44 From action painting to performance art 46 From musical modernism to performance in general 52 Marx’s relational practice: Smith, Hegel and Feuerbach 57 Performance, a practice of relations 64 2 Experience: Art as Experience or an art to experience? 75 Dewey’s concept of experience: unmediated interaction 78 Art as experience: Ono and Forti 91 Critical limits of experience: Kant versus Dewey 92 3 Object: acts of negations of the medium-specific art object 103 The minimalist and the dematerialised object 104 From independent things to acts of the subject 109 Dance and event as an Objekt: Kant 110 Phenomenal objectities in task-dance and event-score practices: Husserl 113 4 Abstraction: task-dance’s abstract ontology 124 Rainer’s No-Manifesto and other negations 127 The social form of abstract labour 129 The autonomous artwork in Adorno 132 Division of labour, abstract time and the disciplined body 135 5 Structure: the performative structure-object 143 Structural objects in task-dance and in structuralism: Trisha Brown’s Accumulation 146 The performativity of the Cartesian I 150 Labour in general, art in general, performance in general 154 Index 160 "In this study, Josefine Wikstrom challenges a concept of performance that makes no difference between art and non-art and argues for a new concept. This book confronts and criticises the way in which the dominating concept of performance has been used in Art Theory, Performance- and Dance Studies. Through an analysis of 1960s performance practices, Wikstrom focuses specifically on task-dance and event-score practices as well as through examination of the key philosophical concepts that are inseparable from such a concept of art, and are necessary for the reconstruction of a critical concept of performance such as: practice, experience, objects, abstraction and structure. Practices of Relations in Event-Score and Task-Dance Practices will be of great interest to scholars, students and practitioner across dance, performance art, aesthetics and art theory"-- Provided by publisher In This Study, Josefine Wikström Challenges A Concept Of Performance That Makes No Difference Between Art And Non-art And Argues For A New Concept. This Book Confronts And Criticises The Way In Which The Dominating Concept Of Performance Has Been Used In Art Theory, Performance- And Dance Studies. Through An Analysis Of 1960s Performance Practices, Wikstrom Focuses Specifically On Task-dance And Event-score Practices As Well As Through Examination Of The Key Philosophical Concepts That Are Inseparable From Such A Concept Of Art, And Are Necessary For The Reconstruction Of A Critical Concept Of Performance Such As: 'practice', Experience', 'object', 'abstraction' And 'structure. This Book Will Be Of Great Interest To Scholars, Students And Practitioner Across Dance, Performance Art, Aesthetics And Art Theory.