Actor Training in Anglophone Countries: Past, Present, and Future

IF 0.2 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY European Legacy-Toward New Paradigms Pub Date : 2022-12-28 DOI:10.1080/10848770.2022.2163472
A. Rosenthal
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Abstract

argued, but they did so by making people see ordinary objects differently. Duchamp exhibited a snow shovel. He did not frame his writings and exhibit them. This point brings me to an aspect of Danto’s analysis that underlies much that is said in the conversations but is never made explicit. One of the major implications of the break that Duchamp and Warhol introduced was to question the relationship between art and craft. I mean by craft the complex power to make, to fashion objects out of raw material. The British sculptor Antony Gormley once described making as “physical thinking” (I saw this comment at an exhibition of his works at the Tate Britain gallery in 2018). But the sort of conceptual art that followed in the wake of the separation of artworks and aesthetic criteria opened the field of art to artists who had no talent for making things from paint or clay. On one level that opening of the field of artistic practice to new forms and styles is consistent with the history of human creativity. If art is the highest and freest expression of that creativity then it can never remain confined to a few canonical forms. On the other hand, one might worry that too wide an opening of artistic practice to include anything anyone recognized as an artist decides to present as art threatens Danto’s definition of artworks as “embodied meanings.” As he says: “Formalism cannot define art. You need meaning . . . and embodiment” (62). If both sides are essential, then the collapse of the sensuous materiality of artworks into ideas would prove to be a loss for art and the human sensorium it enlivens and challenges.
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英语国家的演员培训:过去、现在和未来
争论,但他们是通过让人们对普通物体有不同的看法来实现的。杜尚展出了一把雪铲。他没有把自己的作品裱起来展出。这一点把我带到了丹托分析的一个方面,这个方面隐藏了很多对话中所说的内容,但从来没有明确地说出来。杜尚和沃霍尔带来的突破的主要影响之一是质疑艺术与工艺之间的关系。我说的工艺是指用原材料制作、制作物品的复杂能力。英国雕塑家安东尼·戈姆利(Antony Gormley)曾将制作描述为“身体思维”(我在2018年泰特英国美术馆(Tate Britain)他的作品展览上看到了这一评论)。但是,随着艺术作品和审美标准的分离,随之而来的观念艺术为那些没有用颜料或粘土制作东西的天赋的艺术家打开了艺术领域。在一个层面上,艺术实践领域向新形式和新风格的开放与人类创造力的历史是一致的。如果艺术是创造力的最高和最自由的表达,那么它就永远不能局限于几种规范的形式。另一方面,人们可能会担心,艺术实践的开放过于广泛,以至于不包括任何被认为是艺术家的人决定作为艺术呈现的东西,这会威胁到丹托对艺术作品“体现意义”的定义。正如他所说:“形式主义不能定义艺术。你需要意义……和具体化”(62)。如果这两方面都是必要的,那么艺术作品的感性物质性的崩溃将被证明是艺术和它所激活和挑战的人类感官的损失。
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来源期刊
European Legacy-Toward New Paradigms
European Legacy-Toward New Paradigms HUMANITIES, MULTIDISCIPLINARY-
CiteScore
0.30
自引率
0.00%
发文量
97
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