Nigeria’s foremost veteran contemporary artist, Jelili Atiku was born in 1968 in Ejigbo (Lagos), Nigeria. He received his Bachelor of Fine Arts degree from Ahmadu Bello University, Zaria, Nigeria, and a Master of Visual Arts from the University of Lagos, Nigeria. After training as a sculptor, Atiku has been working globally in performance art, beginning in the late 2000s, with installations now forming part of his artistic language. His major performance series, In the Red, focusing on wars and their aftermath, has been performed in several cities, including Tokyo, Copenhagen, Harare, and London. He was invited to perform at the 2017 and 2019 Venice Biennales and at institutions such as CCA Lagos, London’s Tate Modern, and Palermo’s Manifesta 12, where he led a processional performance addressing themes of migration, the destruction of the environment, and Yoruba myths and legends. Atiku has received a variety of awards and grants, including the Netherlands government’s 2015 Prince Claus Award. In 2021, he was included in Phaidon’s survey African Artists: From 1882 to Now. Part of this interview was recorded on September 4, 2022, when Atiku had just completed his performance ỌLỌ́MỌYỌYỌ, at the 2022 Aarhus Festival in Denmark, while other parts were conducted over email.
尼日利亚最重要的资深当代艺术家，Jelili Atiku于1968年出生于尼日利亚的拉各斯。他在尼日利亚扎里亚的Ahmadu Bello大学获得美术学士学位，在尼日利亚拉各斯大学获得视觉艺术硕士学位。在接受雕塑家培训后，Atiku从2000年代末开始在全球范围内从事行为艺术工作，现在装置已经成为他艺术语言的一部分。他的主要表演系列《红色》(In the Red)关注战争及其后果，已在东京、哥本哈根、哈拉雷和伦敦等多个城市演出。他被邀请在2017年和2019年威尼斯双年展以及CCA拉各斯、伦敦泰特现代美术馆和巴勒莫宣言12等机构进行表演，在那里他领导了一场以移民、环境破坏和约鲁巴神话和传说为主题的专业表演。Atiku已经获得了各种各样的奖项和资助，包括荷兰政府2015年的克劳斯王子奖。2021年，他被列入菲顿的调查非洲艺术家:从1882年到现在。采访的部分内容录制于2022年9月4日，当时Atiku刚刚在丹麦奥胡斯艺术节(2022 Aarhus Festival)上完成了他的演出ỌLỌ´MỌYỌYỌ，而其他部分则通过电子邮件进行。
{"title":"Metaphysical Movement","authors":"Jelili Atiku, Akin Oladimeji","doi":"10.1162/pajj_a_00662","DOIUrl":"https://doi.org/10.1162/pajj_a_00662","url":null,"abstract":"Nigeria’s foremost veteran contemporary artist, Jelili Atiku was born in 1968 in Ejigbo (Lagos), Nigeria. He received his Bachelor of Fine Arts degree from Ahmadu Bello University, Zaria, Nigeria, and a Master of Visual Arts from the University of Lagos, Nigeria. After training as a sculptor, Atiku has been working globally in performance art, beginning in the late 2000s, with installations now forming part of his artistic language. His major performance series, In the Red, focusing on wars and their aftermath, has been performed in several cities, including Tokyo, Copenhagen, Harare, and London. He was invited to perform at the 2017 and 2019 Venice Biennales and at institutions such as CCA Lagos, London’s Tate Modern, and Palermo’s Manifesta 12, where he led a processional performance addressing themes of migration, the destruction of the environment, and Yoruba myths and legends. Atiku has received a variety of awards and grants, including the Netherlands government’s 2015 Prince Claus Award. In 2021, he was included in Phaidon’s survey African Artists: From 1882 to Now. Part of this interview was recorded on September 4, 2022, when Atiku had just completed his performance ỌLỌ́MỌYỌYỌ, at the 2022 Aarhus Festival in Denmark, while other parts were conducted over email.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"215 1","pages":"56-62"},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86852085","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}
Milo Rau’s 2020 film The New Gospel, based on the Passion of Christ, is a triumph of twenty-first-century religious and political art, one whose release heralds new directions in the landscape of contemporary global performance. The work defies any clear genre, drawing together elements of documentary cinema and theatre, metacinema and metatheatre, neorealist film, modern agitprop art, Brechtian Lehrstück, Beuys’s social sculpture, and the medieval mysterium. It debuted as part of the 2020 International Documentary Film Festival Amsterdam under the German title Das Neue Evangelium only two years into Rau’s new artistic directorship of Belgium’s NTGent. (The premiere streamed online due to Covid-19 restrictions.) The film is now widely available in DVD format, introducing audiences worldwide to an artist already being hailed as “the world’s most controversial director,” and helping extend that artist’s influence to a global scale.1
米洛·劳(Milo Rau) 2020年的电影《新福音》(The New Gospel)是根据《耶稣受难录》改编的，是21世纪宗教和政治艺术的一次胜利，它的上映预示着当代全球表演领域的新方向。这部作品无视任何明确的类型，汇集了纪录片电影和戏剧、元电影和元戏剧、新现实主义电影、现代煽动艺术、布莱希特·莱赫斯、博伊斯的社会雕塑和中世纪的神秘元素。该片作为2020年阿姆斯特丹国际纪录片电影节的一部分首次亮相，德文片名为《新福音》(Das Neue Evangelium)，这是劳担任比利时NTGent艺术总监仅两年后的事。(由于新冠肺炎疫情的限制，首播集在网上播放。)这部电影的DVD版现已广泛发行，向全世界的观众介绍了这位已被誉为“世界上最具争议的导演”的艺术家，并帮助将这位艺术家的影响力扩大到全球范围
{"title":"Great Lights, Seen in Darkness: The Passion of Milo Rau and Yvan Sagnet","authors":"Joseph Cermatori","doi":"10.1162/pajj_a_00657","DOIUrl":"https://doi.org/10.1162/pajj_a_00657","url":null,"abstract":"Milo Rau’s 2020 film The New Gospel, based on the Passion of Christ, is a triumph of twenty-first-century religious and political art, one whose release heralds new directions in the landscape of contemporary global performance. The work defies any clear genre, drawing together elements of documentary cinema and theatre, metacinema and metatheatre, neorealist film, modern agitprop art, Brechtian Lehrstück, Beuys’s social sculpture, and the medieval mysterium. It debuted as part of the 2020 International Documentary Film Festival Amsterdam under the German title Das Neue Evangelium only two years into Rau’s new artistic directorship of Belgium’s NTGent. (The premiere streamed online due to Covid-19 restrictions.) The film is now widely available in DVD format, introducing audiences worldwide to an artist already being hailed as “the world’s most controversial director,” and helping extend that artist’s influence to a global scale.1","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"100 1","pages":"16-26"},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87834638","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}
From the 1950s through the early years of the twenty-first century, the writings, works, and variously interpreted meanings of Antonin Artaud’s desperate life were persistent and influential in discussions of theatre and performance, particularly in America. The first translations of Artaud’s writings appeared in what were known as “little” journals and magazines beginning in the post-World War II era. Ranging from visionary texts on theatre and poetry to screeds against then-contemporary Euro-American culture, these writings were, initially, appealing to poets, experimental theatre companies, filmmakers, and visual artists who seized on Artaud’s aesthetic sense of unrestrained interdisciplinary forms and his personal accounts of drug addiction, mental illness, and pursuit of esoteric, non-Western sources. In our era, it is difficult to grasp how a few roughly printed publications with small audiences—origin, Evergreen Review, The Tulane Drama Review, Semina, and the more sophisticated Tiger’s Eye—could be responsible for the extensive circulation of the ideas and work of living artists. But it happened, and as Lucy Bradnock amply demonstrates in No More Masterpieces: Modern Art after Artaud, the effect on artists and the discourses surrounding avant-garde art beyond theatre was widespread, especially after San Francisco-based City Lights Books published The Theater and Its Double in 1958. Containing Artaud’s “theatre of cruelty” manifestos and other seminal writings, letters, and notes, the translations were by Mary Caroline Richards. A larger collection from City Lights, The Artaud Anthology, was released in 1965. With fourteen translators, Bradnock regards the later volume as having as an editorial bent toward accentuating Artaud’s “madness” and marginality as a writer and thinker.
{"title":"Artaud and American Artists","authors":"Arthur J. Sabatini","doi":"10.1162/pajj_r_00674","DOIUrl":"https://doi.org/10.1162/pajj_r_00674","url":null,"abstract":"From the 1950s through the early years of the twenty-first century, the writings, works, and variously interpreted meanings of Antonin Artaud’s desperate life were persistent and influential in discussions of theatre and performance, particularly in America. The first translations of Artaud’s writings appeared in what were known as “little” journals and magazines beginning in the post-World War II era. Ranging from visionary texts on theatre and poetry to screeds against then-contemporary Euro-American culture, these writings were, initially, appealing to poets, experimental theatre companies, filmmakers, and visual artists who seized on Artaud’s aesthetic sense of unrestrained interdisciplinary forms and his personal accounts of drug addiction, mental illness, and pursuit of esoteric, non-Western sources. In our era, it is difficult to grasp how a few roughly printed publications with small audiences—origin, Evergreen Review, The Tulane Drama Review, Semina, and the more sophisticated Tiger’s Eye—could be responsible for the extensive circulation of the ideas and work of living artists. But it happened, and as Lucy Bradnock amply demonstrates in No More Masterpieces: Modern Art after Artaud, the effect on artists and the discourses surrounding avant-garde art beyond theatre was widespread, especially after San Francisco-based City Lights Books published The Theater and Its Double in 1958. Containing Artaud’s “theatre of cruelty” manifestos and other seminal writings, letters, and notes, the translations were by Mary Caroline Richards. A larger collection from City Lights, The Artaud Anthology, was released in 1965. With fourteen translators, Bradnock regards the later volume as having as an editorial bent toward accentuating Artaud’s “madness” and marginality as a writer and thinker.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"37 1","pages":"152-156"},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78018607","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 was born in the small village of Cecilia, Louisiana in 1938. At some point, my mother brought me to St. Joseph Catholic Church to meet the priest and suggested that I become an altar boy. During the summer months, my three girl first-cousins would spend a month on the farm; we had a great time. As I was hearing my mother talking to the priest, the choir started singing! I turned around and noticed that there were only girls in the choir! I turned to my mother and said, “Mama, I want to sing.” She answered, “If that will make you happy, then sing.”I joined the choir and started learning the Latin Gregorian Mass. I sang the Requiem six days a week and the Sunday High Mass for at least five or six years. We had an old tracker pipe organ which, to hear, was fantastic. A lot of mornings the organist and I were the only ones performing.When I was fourteen I left the choir and the Catholic Church … a private reason. I lost interest in the church when they went from the Latin Mass to English.In 1983, my eighteen-year-old son Russ was murdered at the gas station he was working at. I was devastated and was basically depressed for two years. I did not go back to New York City during that time, which meant my career came to a halt. In 1986, I returned to the city and had dinner with Laurie Anderson. To make a long story short, she invited me to perform with her for a Trisha Brown/Robert Rauschenberg dance performance at BAM. A month later, her manager asked me to go on a twenty-eight-city tour of her Home of the Brave. At the same time, I met Paul Simon and began working with him on his album Graceland. Then I recorded with Talking Heads. In other words, my career was back on track.One evening at the airport in Houston, I ran into Walter Hopps, Dominique de Menil’s curator of her collection. He said, “Dominique is giving commissions to composers for the opening of her collection.” I said I would tell Philip Glass and Steve Reich. He looked at me directly in the eye and said, “No, you think about it.”On the flight back to my home in Lafayette, I came up with the idea to write a Mass in honor of my son. A few months later, Dominique invited me to Houston to help organize music for the week-long celebration of the collection’s opening. I spent five days with ideas, which included brass choirs, string quartets, the Duke Ellington band, a blues band etc., etc. … At the end of the five days, she asked me what I wanted to do. I said I could do a solo concert, but instead I wanted to write a Catholic Mass in Latin. She said, “Why not French?” I replied, “Latin.” She jumped from her chair and clicked her heels and said out loud, “Great, I always wanted a Catholic Mass for the Rothko Chapel.” I also wanted to do something for the loss of my son Russ.I am not a trained composer. In other words, I do not write music down. I go into the studio and record and overdub. So, for me this was a problem. I had to come with written music for a choir to read. At the time, Apple
1938年，我出生在路易斯安那州塞西莉亚的一个小村庄。有一次，我母亲带我去圣约瑟夫天主教堂(St. Joseph Catholic Church)见神父，建议我去当祭坛侍童。在夏天的几个月里，我的三个女表亲会在农场呆上一个月;我们玩得很开心。当我听到母亲和牧师说话时，唱诗班开始唱歌了!我转过身，发现唱诗班里只有女孩!我转身对妈妈说:“妈妈，我想唱歌。”她回答说:“如果这样能让你开心，那就唱吧。”我加入了唱诗班，并开始学习拉丁格里高利弥撒。我每周唱六天《安魂曲》和周日的弥撒，至少唱了五六年。我们有一个老式的追踪式管风琴，听起来非常美妙。很多个早晨，只有我和风琴手在演奏。14岁时，我离开了唱诗班和天主教堂……出于私人原因。当他们从拉丁弥撒转到英语弥撒时，我对教堂失去了兴趣。1983年，我18岁的儿子拉斯在他工作的加油站被谋杀了。我崩溃了，抑郁了两年。在那段时间里，我没有回到纽约市，这意味着我的职业生涯陷入了停顿。1986年，我回到这座城市，和劳里·安德森共进晚餐。长话短说，她邀请我和她一起在BAM的Trisha Brown/Robert Rauschenberg舞蹈表演上表演。一个月后，她的经纪人邀请我到28个城市去参观她的“勇敢之家”。与此同时，我遇到了保罗·西蒙，并开始与他合作制作他的专辑《雅园》。然后我和Talking Heads一起录制。换句话说，我的事业回到了正轨。一天晚上，我在休斯顿机场遇到了沃尔特·霍普斯(Walter Hopps)，他是多米尼克·德梅尼尔(Dominique de Menil)的藏品策展人。他说:“多米尼克正在委托作曲家为她的收藏开幕。”我说过我会告诉菲利普·格拉斯和史蒂夫·赖希。他直视着我的眼睛说:“不，你想想看。”在回拉斐特家的飞机上，我萌生了为儿子做弥撒的想法。几个月后，多米尼克邀请我去休斯顿，为为期一周的展览开幕庆祝活动组织音乐。我花了五天的时间来构思，包括铜管合唱团、弦乐四重奏、艾灵顿公爵乐队、蓝调乐队等等. ...在五天结束的时候，她问我想做什么。我说我可以做一个个人音乐会，但我想用拉丁语写一篇天主教弥撒。她说:“为什么不是法语?”我回答说:“拉丁文。”她从椅子上跳起来，咔嗒一声踩着脚跟，大声说:“太好了，我一直想在罗斯科教堂举行天主教弥撒。”我也想为我失去的儿子拉斯做点什么。我不是一个训练有素的作曲家。换句话说，我不把音乐写下来。我走进录音室，录音和配音。所以，对我来说这是个问题。我必须带着写好的音乐来给唱诗班读。当时，苹果公司推出了第一台带有MIDI和转录软件的麦金塔电脑。我买了它，开始做弥撒。我花了六个月才完成。首演于1987年6月4日在罗斯科教堂举行。它是为三个男高音，三个男低音而创作的;女高音萨克斯管、女高音独唱、女高音男高音;一个雅马哈TZ81Z音调发生器，一个雅马哈TZ7音调发生器，和麦金塔加电脑。“五旬节主日弥撒”于2021年9月在意大利博洛尼亚举行的G20国际宗教间论坛开幕式上举行。当我与罗伯特·威尔逊合作于2019年在古希腊埃皮达鲁斯剧院上演的《俄狄浦斯》时，弥撒中的歌洛丽亚从合唱部分变成了电子键盘作品。我们还在2022年秋天合作了Gloria，这是一个360度沉浸式声音装置，有15个扬声器，为13世纪的巴黎圣礼拜堂，其中包括卢克莱修的《论事物的本质》和男人、女人和孩子的声音。在《歌洛丽亚》中使用了电子键盘，遵循了赞美诗的原始结构。目前，我正在为位于博洛尼亚的欧洲最大的宗教研究中心——宗教研究所(the Institute for Religious Studies，简称FSCIRE)——受委托创作一篇作文。这是为了纪念所有在宗教场所被杀害的人而创作的一幅名为《井》的作品。一切神圣的东西都在这个世界上，在我们与最亲爱的人的关系中。
{"title":"Grace Notes","authors":"Richard Landry","doi":"10.1162/pajj_a_00666","DOIUrl":"https://doi.org/10.1162/pajj_a_00666","url":null,"abstract":"I was born in the small village of Cecilia, Louisiana in 1938. At some point, my mother brought me to St. Joseph Catholic Church to meet the priest and suggested that I become an altar boy. During the summer months, my three girl first-cousins would spend a month on the farm; we had a great time. As I was hearing my mother talking to the priest, the choir started singing! I turned around and noticed that there were only girls in the choir! I turned to my mother and said, “Mama, I want to sing.” She answered, “If that will make you happy, then sing.”I joined the choir and started learning the Latin Gregorian Mass. I sang the Requiem six days a week and the Sunday High Mass for at least five or six years. We had an old tracker pipe organ which, to hear, was fantastic. A lot of mornings the organist and I were the only ones performing.When I was fourteen I left the choir and the Catholic Church … a private reason. I lost interest in the church when they went from the Latin Mass to English.In 1983, my eighteen-year-old son Russ was murdered at the gas station he was working at. I was devastated and was basically depressed for two years. I did not go back to New York City during that time, which meant my career came to a halt. In 1986, I returned to the city and had dinner with Laurie Anderson. To make a long story short, she invited me to perform with her for a Trisha Brown/Robert Rauschenberg dance performance at BAM. A month later, her manager asked me to go on a twenty-eight-city tour of her Home of the Brave. At the same time, I met Paul Simon and began working with him on his album Graceland. Then I recorded with Talking Heads. In other words, my career was back on track.One evening at the airport in Houston, I ran into Walter Hopps, Dominique de Menil’s curator of her collection. He said, “Dominique is giving commissions to composers for the opening of her collection.” I said I would tell Philip Glass and Steve Reich. He looked at me directly in the eye and said, “No, you think about it.”On the flight back to my home in Lafayette, I came up with the idea to write a Mass in honor of my son. A few months later, Dominique invited me to Houston to help organize music for the week-long celebration of the collection’s opening. I spent five days with ideas, which included brass choirs, string quartets, the Duke Ellington band, a blues band etc., etc. … At the end of the five days, she asked me what I wanted to do. I said I could do a solo concert, but instead I wanted to write a Catholic Mass in Latin. She said, “Why not French?” I replied, “Latin.” She jumped from her chair and clicked her heels and said out loud, “Great, I always wanted a Catholic Mass for the Rothko Chapel.” I also wanted to do something for the loss of my son Russ.I am not a trained composer. In other words, I do not write music down. I go into the studio and record and overdub. So, for me this was a problem. I had to come with written music for a choir to read. At the time, Apple","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136048222","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 my works, I want to reveal the inner depths of my subjective world as well as the social, cultural, and political geography in which we live. Thinking about the nation of Turkey conjures up all sorts of curious and exotic imaginations of the “other.” In the mind’s eyes of those who visit the country and among those who would wish to analyze various aspects of its sociological, political, and cultural dynamics, its straddling of East and West, Islam and Christianity, Europe and Asia, there is no other place like it on earth. Religious Turks, once the underclass of society here, have become educated and middle class over the last two decades, and are moving into urban spaces that were once the exclusive domain of the elite. The repeal of the scarf ban in the early 2000s has once again set the two groups against each other, unleashing fears that have as much to do with class rivalry as with the growing influence of Islam. While the public debate here typically revolves around Islam and how much space it should have in Turkish society—a legitimate concern in a country whose population is overwhelmingly Muslim and deeply conservative—the struggle over power is a glaring, if often unspoken, part of the tension between the two groups.
{"title":"Belief Systems","authors":"Ferhat Özgür","doi":"10.1162/pajj_a_00660","DOIUrl":"https://doi.org/10.1162/pajj_a_00660","url":null,"abstract":"In my works, I want to reveal the inner depths of my subjective world as well as the social, cultural, and political geography in which we live. Thinking about the nation of Turkey conjures up all sorts of curious and exotic imaginations of the “other.” In the mind’s eyes of those who visit the country and among those who would wish to analyze various aspects of its sociological, political, and cultural dynamics, its straddling of East and West, Islam and Christianity, Europe and Asia, there is no other place like it on earth. Religious Turks, once the underclass of society here, have become educated and middle class over the last two decades, and are moving into urban spaces that were once the exclusive domain of the elite. The repeal of the scarf ban in the early 2000s has once again set the two groups against each other, unleashing fears that have as much to do with class rivalry as with the growing influence of Islam. While the public debate here typically revolves around Islam and how much space it should have in Turkish society—a legitimate concern in a country whose population is overwhelmingly Muslim and deeply conservative—the struggle over power is a glaring, if often unspoken, part of the tension between the two groups.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"44 1","pages":"41-47"},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75420909","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":"Oberammergau Dialogue","authors":"Matt Cornish, Donald Hinchey","doi":"10.1162/pajj_a_00665","DOIUrl":"https://doi.org/10.1162/pajj_a_00665","url":null,"abstract":"","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"34 1","pages":"82-91"},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85700741","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}
Chen Zhen’s performance work is unique in several ways. A Chinese artist, he lived as an expatriate in Paris since 1986 until his untimely death at the age of forty-five in 2000. The prognostication of his cancer led him to investigate the traditional spiritual ideology of Daoism and Chinese healing practices, including performative rituals of chanting, dancing, and drumming. In this way, his efforts can be seen in the context of ancient Daoist activities linked to the search for longevity and spiritual harmony. Chen succeeded in creating a remarkable body of work, particularly in the last years of his life, which demonstrates the influence of Daoist spiritual thought.
{"title":"Chen Zhen: The Sound of the Life Force","authors":"P. Karetzky","doi":"10.1162/pajj_a_00663","DOIUrl":"https://doi.org/10.1162/pajj_a_00663","url":null,"abstract":"Chen Zhen’s performance work is unique in several ways. A Chinese artist, he lived as an expatriate in Paris since 1986 until his untimely death at the age of forty-five in 2000. The prognostication of his cancer led him to investigate the traditional spiritual ideology of Daoism and Chinese healing practices, including performative rituals of chanting, dancing, and drumming. In this way, his efforts can be seen in the context of ancient Daoist activities linked to the search for longevity and spiritual harmony. Chen succeeded in creating a remarkable body of work, particularly in the last years of his life, which demonstrates the influence of Daoist spiritual thought.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"43 1","pages":"63-69"},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88174002","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 was raised atheist ... I really have a problem with people who talk of God or life after death,” says Gaspar Noé, one of contemporary cinema’s great provocateurs.1 It’s an unsurprising comment from the director, known for his unsparing look at meaningless violence, dark impulses, and the emptiness of life. Yet the comment belies the recurrence of spiritual themes and schemas in his work. Noé’s filmography is an ongoing spiritual quest that is aware of, and even desires, its own futility. An atheist-seeker, he is fascinated with faiths he does not share, and looks, both forensically and sensually, at their praxes and manifestations. Through the lenses of different spiritual traditions, he explores the agonies and ecstasies of the human body and tests the camera’s abilities to capture them. His cinema—notoriously, relentlessly carnal—pushes bodies to extremes. These extremities test spiritual promises of altered states and exposes the dark side of seeking transcendence. Yet even in his dark and cynical moments, Noé still uses spirituality as a pretext for a strong visceral engagement with a “something more” that lies beyond normal human perception. The contortions of body and the pulsations of animate flesh express the duality of an intense present and a shimmering, liminal presence.
{"title":"Bad Trips: Spiritual Agonies and Ecstasies in the Films of Gaspar Noé","authors":"J. Sirmons","doi":"10.1162/pajj_a_00661","DOIUrl":"https://doi.org/10.1162/pajj_a_00661","url":null,"abstract":"“I was raised atheist ... I really have a problem with people who talk of God or life after death,” says Gaspar Noé, one of contemporary cinema’s great provocateurs.1 It’s an unsurprising comment from the director, known for his unsparing look at meaningless violence, dark impulses, and the emptiness of life. Yet the comment belies the recurrence of spiritual themes and schemas in his work. Noé’s filmography is an ongoing spiritual quest that is aware of, and even desires, its own futility. An atheist-seeker, he is fascinated with faiths he does not share, and looks, both forensically and sensually, at their praxes and manifestations. Through the lenses of different spiritual traditions, he explores the agonies and ecstasies of the human body and tests the camera’s abilities to capture them. His cinema—notoriously, relentlessly carnal—pushes bodies to extremes. These extremities test spiritual promises of altered states and exposes the dark side of seeking transcendence. Yet even in his dark and cynical moments, Noé still uses spirituality as a pretext for a strong visceral engagement with a “something more” that lies beyond normal human perception. The contortions of body and the pulsations of animate flesh express the duality of an intense present and a shimmering, liminal presence.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"21 1","pages":"48-55"},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87158977","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":"Mobilizing Dance Archives of the Weimar Republic","authors":"Andrej Mirčev","doi":"10.1162/pajj_a_00671","DOIUrl":"https://doi.org/10.1162/pajj_a_00671","url":null,"abstract":"","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"66 1","pages":"135-140"},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77933835","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}
Anne Bogart has a restless mind. For more than fifty years, as an artist-director, a writer-thinker, and a teacher-mentor, she has conducted a gentle but relentless inquiry into what makes theatre theatre and by extension what defines the nature of aesthetic experience. In the process, she has avoided answers that are absolute or doctrinaire or reductive, preferring instead to court the ineffable at the heart of the theatrical equation. Sometimes this makes her ideas as notional as they are theoretical. She seems more interested in chasing butterflies on the wing than netting and pinning them to a mat for closer inspection because then, well, they would not be true butterflies anymore.
{"title":"Good Vibrations","authors":"S. T. Cummings","doi":"10.1162/pajj_r_00675","DOIUrl":"https://doi.org/10.1162/pajj_r_00675","url":null,"abstract":"Anne Bogart has a restless mind. For more than fifty years, as an artist-director, a writer-thinker, and a teacher-mentor, she has conducted a gentle but relentless inquiry into what makes theatre theatre and by extension what defines the nature of aesthetic experience. In the process, she has avoided answers that are absolute or doctrinaire or reductive, preferring instead to court the ineffable at the heart of the theatrical equation. Sometimes this makes her ideas as notional as they are theoretical. She seems more interested in chasing butterflies on the wing than netting and pinning them to a mat for closer inspection because then, well, they would not be true butterflies anymore.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"33 1","pages":"157-159"},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75863642","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：