Performance Evaluation

By swaying in the delicate phrases and jerking with the harsh ones, the performers became the dancers in the ballet. They expressed different levels of emotion when required which reflected their playing.

“Audiences today want a real experience in their live performance, because they can get great script based entertainment at home, through various new media sources. Traditional theatre, which appeals on a mental, and hopefully also emotional level, has not been enough to compete with other media, and audiences have been declining. Physical theatre, by contrast appeals to the audience on a physical and emotional level, providing a much more immediate experience than traditional theatre” ~ (Artmedia Publishing in Zen Zen Zo’s “The Tempest” Teacher’s Notes)

The male dancer only wore pants and bared his upper body. This simple costume design not only made the people who watch the dance to have a clear vision of the dancer, but also better presented a predicament that the character was experiencing at that time. At the first half of the dance, the dancer would leave at least one part of his body on the bench, and tried hard to reach other parts of his body away. This muscular interplay between the dancer and the bench resonated with the audience to experiencing the same struggle feelings as the character. As the performance developed, the dancer started to leave the bench to fully use the space. The dancer had many different movements comparing with sitting on the bench previously. He started to lie down, roll over, stand on the bench and make a turn use only one foot. The level of the dance was no longer limited in the middle but changing from low to high as well. Having such a change, the dancer is converting a more delight and energetic feeling to the audience, in order to demonstrated that the character was recovered through the

The boundary between audience and performer was ruptured when a spectator sits next to Nyamza and lights a cigarette for her, even when she dances haphazardly bumping and falling on audience members. Just as Nyamza embodies the performer she falls back into the pedestrian informality represented by the mom, as if she gives up on her dreams and accepts her reality and the responsibilities as a mom. Her movements are dynamic as some works contain pieces which are less physical while other pieces are extremely physically demanding. Her movement dynamic correlates with speed of the

The space, time and usage of dynamics were powerful yet elegant-elements that added to the overall quality and tone of the work. The solo dancer used her body to perform various movements with specific ranges of motion, showing her ability to control, express and properly connect to the audience through her performance. In this performance, there seems to be a spiritual side when the dancer, Marilyn Banks, sits on the bench and starts to swing her arms in wide semi-circles to show looks of anguish and despair. Ms. Banks also varied movement by quivering her hands-movements such as a shaking or slight trembling with her hands when reaching outwards. She also used a lot of ornamentation or embellishment through her movements. Her body and her path of movement embellished her gestures since she was performing spins across the stage.

All pieces performed were connected to the emotional struggle and differences Verity and her family had to coop with. We communicated these emotions through dramatic devices and skills.

Finally, the depiction of figure is perhaps the most interesting and intellectually challenging element in this piece. The figure, while emotionally withdrawn from the viewer, is physically imposing. She is looking down and away from the viewer, as if the isn’t aware that she is being watched. Her mask-like facial features also do little in the way of conveying emotion. Her body, however, is quite different. The dark thick lines shaping her muscles and limbs, the detail in the curls of her hair, the placement of her fingers, and her exposed breast all demand the attention of the viewers’ eye. The bold lines that define her legs, waist, and hip, make her seem intrusively part of our space. The awkward placement of her

Space was involved in the performance as well. A table and two wooden chairs created a great amount of space in a big room. Until Abramovic decides to take the table away, interacting with the audience. No movement emotions was made from her. On the other hand, the audience showed all kinds of emotions. Or by teasing her to see if she would lose concentration. There was no sound at all, but there is a great impact by her eyes locked to whoever sat opposite of her.

Marina and Ulay’s relationship was based on love for each other as well as love for art and the concept of it

In this essay I will be looking into the work of Marina Abramovic in relation to the Feminist movement. By looking at her work, I aim to emphasise her influence on this movement. In this essay, I shall also briefly examine the works of Abramovic, particularly Art is Beautiful, Artist must be Beautiful (1975) and four of her performances from her Rhythm series (10 (1973), 0 (1974), 2 (1974), and 5 (1974)). I shall describe the history of the Feminist movement and its influence in order to develop an understanding of Abramovic’s influence.

Madonna shrewdly used music videos as a visual more than an auditory experience (Hawkins, 2002, in Moohan, 2008, p. 190). Maria Callas mainly sung on an opera stage, using a whole range of skills besides singing, such as acting and emoting as seen in her rendition of Puccini’s Tosca (The Open University, 2008, [DVD]). Her dramatic weight loss can also be viewed as a catalyst that made her beauty the focus of the media (Philip in Moohan, 2008, p.175). The Concerto delle donne recited for a limited audience but incited the infatuation of many poets and composers, some also commenting on their beauty (Moohan, 2008, pp. 182-184).

There are many things that can be said about Marina Abramovic’s works, particularly her MOMA performance “The Artist Is Present”, but I think that everyone would agree they are if anything compelling. The film that we viewed, centered around that ambitious performance, allowed us to get a sense of Marina, from her early years as a rather unknown Yugoslavian artist, her relationship with Ulay that had the biggest impact on her as artist and a person, to the late years of her career in which she found fame. The performance at MOMA was one of the most interesting works I’ve ever witnessed. In addition to having her admirers as mere viewers of her work, she found a way to engage with them in a very intense and profound way. I felt that the performance

Alexandra Pirici is a contemporary performance artist. Her practice is a combination of performance, visual art, and choreography, yet she recalls her performances sculptures (Neue Spielzeit, 2016). She reconceives and visualises the past and present occurrences, imitate social memes and represent sculptural additions to monumental sculptures (Art.thehighline.org, no date).

Marina Ambramović’s concept of performance art interrogates the traditional forms and practices of what most people would consider to be the “norm”, that derive from personal preferences generated from different aspects of society. Abramović is known for her durational performance work that tests the endurance and limitations of her own body and mind. Performance art may be understood as a practice where the body of the artist is central or the medium itself involving objected based art materials such as paint and canvas. Abramović challenges this traditional sense, and introduces new concepts of “pushing the body to its limits” and cutting down the distance between artist and audience by making her own the body the medium. In this paper, I will be critiquing Ambramović’s use of performance art to the ways she provokes cultural politics by ultimately aiming to silence the question “what is art”. Upon watching her documentary “The Artist is Present”, I have found that in her performances she presents the public with challenges, shock, and emotions that can be understood as a controversial act; however the effect her performances have on people can differ based on the perspective of which performance art is viewed.

A fascination with the human body, body were an experience that could somehow be held in common. The ways in which we might experience the body as connected or represent it as disconnected in a live performance. Shifting attention from traditional art object to the artist’s physical action further proposed that art existed in real space and real time. Marina Abramovic, a pioneer of performance art began using her own body as the subject, object, and medium in the early 1970s as she said, ‘In performance my body is object and subject.’ For the exhibition