For nine days, from September 12–20, 2019, Indian-born performance artist Nikhil Chopra lived, ate, slept, drew, and performed in the Metropolitan Museum of Art in New York City for his performance of Land, Water, and Skies. Museums invite spectators to step into another universe by displaying artifacts behind vitrines with decors that mimic their original locations, leaving the untold stories of how they got there to the viewer’s imagination. Chopra’s performance brought the illusion of the authenticity of museum spaces to life. As an artist-in-residence, he offered viewers a “spectacle of history,” or a live interpretation of what historical artefacts enact silently behind their glass cases. By inhabiting the museum galleries, donning various costumes, and drawing on a large canvas, he acted like a live museum object. As he stated of the piece, “My body is a ‘museum’ that holds a collection of memories. I don’t view the Met as a neutral space; I come from India and I carry the subcontinent’s colonial past with me.”
{"title":"The Spectacle of History: Nikhil Chopra at the Met","authors":"N. Taylor","doi":"10.1162/pajj_a_00602","DOIUrl":"https://doi.org/10.1162/pajj_a_00602","url":null,"abstract":"For nine days, from September 12–20, 2019, Indian-born performance artist Nikhil Chopra lived, ate, slept, drew, and performed in the Metropolitan Museum of Art in New York City for his performance of Land, Water, and Skies. Museums invite spectators to step into another universe by displaying artifacts behind vitrines with decors that mimic their original locations, leaving the untold stories of how they got there to the viewer’s imagination. Chopra’s performance brought the illusion of the authenticity of museum spaces to life. As an artist-in-residence, he offered viewers a “spectacle of history,” or a live interpretation of what historical artefacts enact silently behind their glass cases. By inhabiting the museum galleries, donning various costumes, and drawing on a large canvas, he acted like a live museum object. As he stated of the piece, “My body is a ‘museum’ that holds a collection of memories. I don’t view the Met as a neutral space; I come from India and I carry the subcontinent’s colonial past with me.”","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"1 1","pages":"79-88"},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90444183","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
‘‘T he people paid and you gotta do something for ’em,” Tessa BarlowOchshorn declares ironically at the top of her performance-for-video work, How to Wake Up!, as part of the 2021 Exponential Festival. It has been impossible amid Covid-19 to tell if pressures to “perform or else” (as Jon McKenzie once wrote) are enforcing productivity within hyper-industrial, supplyand-demand paradigms, or if some other more transcendent or fundamental compulsions to connect or belong are extant through artistic practices. Why must the show go on when people aren’t actually paying, and the specialized skills and dearly held values of artistic communities are being stretched and subverted? Perhaps it is just that theatre people have been working so hard for so long to justify the necessity and urgency of the craft that to quit for any reason would be to break our own suspension of disbelief in ourselves. Barlow-Ochshorn’s work deals directly with this complex set of desires, demands, and despairs; exposing deeper attempts to access (a)liveness as she narrates her process of waking up in the morning, opening her “cold sharp eyes” along with the curtains, and facing what she calls “death as habit.” Throughout the Exponential Festival, various works struggle within both existential and technological conditions to produce plague-time theatre aesthetics and values.
{"title":"Plague-Time Aesthetics","authors":"Esther Neff","doi":"10.1162/pajj_a_00596","DOIUrl":"https://doi.org/10.1162/pajj_a_00596","url":null,"abstract":"‘‘T he people paid and you gotta do something for ’em,” Tessa BarlowOchshorn declares ironically at the top of her performance-for-video work, How to Wake Up!, as part of the 2021 Exponential Festival. It has been impossible amid Covid-19 to tell if pressures to “perform or else” (as Jon McKenzie once wrote) are enforcing productivity within hyper-industrial, supplyand-demand paradigms, or if some other more transcendent or fundamental compulsions to connect or belong are extant through artistic practices. Why must the show go on when people aren’t actually paying, and the specialized skills and dearly held values of artistic communities are being stretched and subverted? Perhaps it is just that theatre people have been working so hard for so long to justify the necessity and urgency of the craft that to quit for any reason would be to break our own suspension of disbelief in ourselves. Barlow-Ochshorn’s work deals directly with this complex set of desires, demands, and despairs; exposing deeper attempts to access (a)liveness as she narrates her process of waking up in the morning, opening her “cold sharp eyes” along with the curtains, and facing what she calls “death as habit.” Throughout the Exponential Festival, various works struggle within both existential and technological conditions to produce plague-time theatre aesthetics and values.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"23 1","pages":"42-48"},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80722332","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Love Again, Love Better","authors":"Warren Kluber","doi":"10.1162/pajj_a_00595","DOIUrl":"https://doi.org/10.1162/pajj_a_00595","url":null,"abstract":"","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"29 1","pages":"38-41"},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88883572","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Once at an academic conference, a friend and I were talking about approaches to research and scholarship. Ideally, he mused, one would write a “big idea” book so that they could then be given license to write the “this-thing-Inoticed” book. I was reminded of this distinction again when reading the fiftieth anniversary edition of Gene Youngblood’s Expanded Cinema, first published by E.P. Dutton in 1970 and republished with remarkable timing in 2020. (The author died in April 2021.) As the title suggests, the big idea of the book is cinema, a concept that undergirds not only the changing landscape for art and media in the 1960s, but also the social, cultural, ecological, and psychological experiences of a society—mostly industrialized and overwhelmingly white and male—in transition. Proclaiming “The Cybernetic Age is the New Romantic Age,” Youngblood views the emerging technologies and computer systems as the dawning of a new utopia. As he writes in his review essay of Stanley Kubrick’s 2001: A Space Odyssey (1968):
{"title":"Future Imperfect Tense","authors":"Sarah Bay-Cheng","doi":"10.1162/pajj_r_00604","DOIUrl":"https://doi.org/10.1162/pajj_r_00604","url":null,"abstract":"Once at an academic conference, a friend and I were talking about approaches to research and scholarship. Ideally, he mused, one would write a “big idea” book so that they could then be given license to write the “this-thing-Inoticed” book. I was reminded of this distinction again when reading the fiftieth anniversary edition of Gene Youngblood’s Expanded Cinema, first published by E.P. Dutton in 1970 and republished with remarkable timing in 2020. (The author died in April 2021.) As the title suggests, the big idea of the book is cinema, a concept that undergirds not only the changing landscape for art and media in the 1960s, but also the social, cultural, ecological, and psychological experiences of a society—mostly industrialized and overwhelmingly white and male—in transition. Proclaiming “The Cybernetic Age is the New Romantic Age,” Youngblood views the emerging technologies and computer systems as the dawning of a new utopia. As he writes in his review essay of Stanley Kubrick’s 2001: A Space Odyssey (1968):","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"54 1","pages":"118-122"},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83621420","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 1999, the Lincoln Center Festival brought a new interpretation of Tang Xianzu’s The Peony Pavilion to New York, directed by Shi-Zheng Chen. Peony was written in 1598, Shakespeare’s era in the West, and is considered one of the masterpieces of Chinese Kunqu opera. It became the most popular play of the Ming Dynasty. The twenty-hour-long play, which moves from reality into a supernatural world, features a powerful central female heroine, Du Liniang, who falls in love and enters into a series of adventures in a dream. The producer of the Lincoln Center Festival, John Rockwell, learned of this classic masterpiece while traveling through China looking for material. The young director Shi-Zheng Chen was an interpreter and guide on this trip. Rockwell encouraged Shi-Zheng to stage his own production of the complete story and, when he saw the results, invited it to Lincoln Center. Shi-Zheng, his leading lady Qian Yi, and several of the musicians involved with the piece traveled to New York after Peony’s preview run in Shanghai to prepare for the transfer, and then, suddenly, the new production was banned by the Chinese government on the grounds that it was “decadent.” The sets were seized and held at the airport in Shanghai. It took the intervention of the Lincoln Center Board and several political figures including, reputedly, Henry Kissinger, to persuade the Chinese government to release the sets and allow the production to proceed in the United States. The artists already there would not be allowed to return to China, however. The Peony Pavilion was a huge success, with its large cast, innovative staging with water, live birds, and ambient noise, its beautiful music, and extraordinary acting. It went on to be staged at the Festival d’Automne in Paris, the Piccolo Teatro in Milan, the Perth International Arts Festival, the Aarhus Festival in Denmark, the Berlin Festival, the Vienna Festival, the Singapore Arts Festival, and, finally, the Spoleto Festival in Charleston, South Carolina.
{"title":"Step Across Time and Space: Cross-Cultural Investigation","authors":"Anne Cattaneo","doi":"10.1162/pajj_a_00592","DOIUrl":"https://doi.org/10.1162/pajj_a_00592","url":null,"abstract":"In 1999, the Lincoln Center Festival brought a new interpretation of Tang Xianzu’s The Peony Pavilion to New York, directed by Shi-Zheng Chen. Peony was written in 1598, Shakespeare’s era in the West, and is considered one of the masterpieces of Chinese Kunqu opera. It became the most popular play of the Ming Dynasty. The twenty-hour-long play, which moves from reality into a supernatural world, features a powerful central female heroine, Du Liniang, who falls in love and enters into a series of adventures in a dream. The producer of the Lincoln Center Festival, John Rockwell, learned of this classic masterpiece while traveling through China looking for material. The young director Shi-Zheng Chen was an interpreter and guide on this trip. Rockwell encouraged Shi-Zheng to stage his own production of the complete story and, when he saw the results, invited it to Lincoln Center. Shi-Zheng, his leading lady Qian Yi, and several of the musicians involved with the piece traveled to New York after Peony’s preview run in Shanghai to prepare for the transfer, and then, suddenly, the new production was banned by the Chinese government on the grounds that it was “decadent.” The sets were seized and held at the airport in Shanghai. It took the intervention of the Lincoln Center Board and several political figures including, reputedly, Henry Kissinger, to persuade the Chinese government to release the sets and allow the production to proceed in the United States. The artists already there would not be allowed to return to China, however. The Peony Pavilion was a huge success, with its large cast, innovative staging with water, live birds, and ambient noise, its beautiful music, and extraordinary acting. It went on to be staged at the Festival d’Automne in Paris, the Piccolo Teatro in Milan, the Perth International Arts Festival, the Aarhus Festival in Denmark, the Berlin Festival, the Vienna Festival, the Singapore Arts Festival, and, finally, the Spoleto Festival in Charleston, South Carolina.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"4 1","pages":"1-13"},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89195805","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
I am looking at Trisha Brown’s footprints, framed and signed, and hanging on my living room wall. Are they her actual footprints? Yes and no—they are the impressions of her feet, though not a direct transfer of ink from sole to sheet. To be more precise, I am looking at three etchings on paper recording the footwork of this dancer as she executes an unseen dance. These are prints of her footprints, a doubling of that passage’s trace, displaced further still in a move from floor to wall.
{"title":"Footprints: Dance on Paper by Trisha Brown","authors":"D. Sack","doi":"10.1162/pajj_a_00574","DOIUrl":"https://doi.org/10.1162/pajj_a_00574","url":null,"abstract":"I am looking at Trisha Brown’s footprints, framed and signed, and hanging on my living room wall. Are they her actual footprints? Yes and no—they are the impressions of her feet, though not a direct transfer of ink from sole to sheet. To be more precise, I am looking at three etchings on paper recording the footwork of this dancer as she executes an unseen dance. These are prints of her footprints, a doubling of that passage’s trace, displaced further still in a move from floor to wall.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"58 1","pages":"19-30"},"PeriodicalIF":0.3,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80449918","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
An editorial is presented on PAJ's regular Art & Performance Notes section featuring memories of live performance prior to the shutdown of theatres during the Covid-19 pandemic. Topics include the impact of the pandemic on theatres and theatre audiences and the rise of social and political movements over the past year;and reflecting on time spending away from live theatre and the importance of memories sustaining all during isolation.
{"title":"Pre-Pandemic Memories: Performance in the Before Times","authors":"Benjamin Gillespie","doi":"10.1162/pajj_e_00591","DOIUrl":"https://doi.org/10.1162/pajj_e_00591","url":null,"abstract":"An editorial is presented on PAJ's regular Art & Performance Notes section featuring memories of live performance prior to the shutdown of theatres during the Covid-19 pandemic. Topics include the impact of the pandemic on theatres and theatre audiences and the rise of social and political movements over the past year;and reflecting on time spending away from live theatre and the importance of memories sustaining all during isolation.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"72 1","pages":"31-32"},"PeriodicalIF":0.3,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77483305","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Before You Embark—An Introduction","authors":"Wah Mohn","doi":"10.1162/pajj_a_00587","DOIUrl":"https://doi.org/10.1162/pajj_a_00587","url":null,"abstract":"","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"118 1","pages":"87-88"},"PeriodicalIF":0.3,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79404466","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"We're Gonna Die: Second Stage Theater, New York, NY","authors":"Dan Venning","doi":"10.1162/pajj_a_00584","DOIUrl":"https://doi.org/10.1162/pajj_a_00584","url":null,"abstract":"","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"51 1","pages":"60-62"},"PeriodicalIF":0.3,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78279554","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Inheritance: Ethel Barrymore Theatre, New York, NY","authors":"Joseph Cermatori","doi":"10.1162/pajj_a_00575","DOIUrl":"https://doi.org/10.1162/pajj_a_00575","url":null,"abstract":"","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"9 1","pages":"33-35"},"PeriodicalIF":0.3,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88850326","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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