By N. Shaughnessy
This booklet attracts upon cognitive and have an effect on idea to ascertain functions of latest functionality practices in academic, social and group contexts. The writing is positioned within the areas among making and function, exploring the strategies of constructing paintings outlined variously as collaborative, participatory and socially engaged.
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Additional info for Applying Performance: Live Art, Socially Engaged Theatre and Affective Practice
The participatory element is one of the defining characteristics of applied performance. Pasts, Pioneers, Politics 21 Bread and Puppet Theatre In discussions of avant-garde aesthetics and the relations between the experiments of the 1920s and 1930s and those of the neo avant-garde (1960s and 1970s), the concept of mimesis becomes central to debates about representation and the relations between art and life. Bürger’s analysis has been questioned by several critics, most notably Hal Foster, who argues that mimesis has the capacity to function as social critique, framing and objectifying the everyday through art to provoke critical debate and questioning (Foster, 1996).
Free the street. Begin’, at which point the police usually intervened (Tytell, 1997: 228). This was a theatre of celebration and protest where spectators participated in performance making. The participatory element is one of the defining characteristics of applied performance. Pasts, Pioneers, Politics 21 Bread and Puppet Theatre In discussions of avant-garde aesthetics and the relations between the experiments of the 1920s and 1930s and those of the neo avant-garde (1960s and 1970s), the concept of mimesis becomes central to debates about representation and the relations between art and life.
Cognitive theory offers a way to reconceptualize these complexities concerning relations between art and life, the dynamics between performer and audience and the production of meaning through the processes involved in applying performance. Even the distinction between active and passive spectators is challenged through this analysis because, as McConachie explains: it is unlikely that formal differences in the degree of theatricality have much to do with the political efficacy of certain kinds of theatre.
Applying Performance: Live Art, Socially Engaged Theatre and Affective Practice by N. Shaughnessy