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Performance art in Western Europe and North America developed in part as a response to the commercialisation of the art object, as artists endeavoured to create works of art that could not be bought or sold. But what are the roots of performance art in Eastern Europe and Russia, where there was no real art market to speak of? While many artworks created in the 'East' may resemble Western performance art practices, their origins, as well as their meaning and significance, is decidedly different. By placing specific performances from Russia, Latvia and Poland from the late- and post-communist pe.

Performance art

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Performance art in Western Europe and North America developed in part as a response to the commercialisation of the art object, as artists endeavoured to create works of art that could not be bought or sold. But what are the roots of performance art in Eastern Europe and Russia, where there was no real art market to speak of? While many artworks created in the 'East' may resemble Western performance art practices, their origins, as well as their meaning and significance, is decidedly different. By placing specific performances from Russia, Latvia and Poland from the late- and post-communist periods within a local and international context, this book pinpoints the nuances between performance art East and West. Performance art in Eastern Europe is examined for the first time as agent and chronicle of the transition from Soviet and satellite states to free-market democracies. Drawing upon previously unpublished sources and exclusive interviews with the artists themselves, Amy Bryzgel explores the actions of the period, from Miervaldis Polis's Bronze Man to Oleg Kulik's Russian Dog performances. Bryzgel demonstrates that in the late-1980s and early 1990s, performance art in Eastern Europe went beyond the modernist critique to express ideas outside the official discourse, shocking and empowering the citizenry, both effecting and mirroring the social changes taking place at the time. Performing the East opens the way to an urgent reassessment of the history, function and meaning of performance art practices in East-Central Europe.

Performance art --- Performance art --- Performance art --- Art de performance --- Art de performance --- Art de performance

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In the context of researching performative practice and performative installations, Smoky Pokership reflects the change from performance to installation and back again. In the past ten years within the evolution of contemporary performance art, a shift has been discerned away from the body of the performer to the relational space and context of the performance. Behind this also lies the observation that today's performance art leaves behind ever more traces in exhibition spaces. The design of the space that is intended for the performance--stage, public space, exhibition format--calls for new forms in the development of the performance, for example that of the environment or of the action, of politically committed projects or activities of art in the social sphere.

museology --- Museology --- Art --- exhibiting --- performance art --- Ausstellungstechnik. --- Installation. --- Installations (Art). --- Performance art. --- Performance.

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Theatre in the Expanded Field is a fiercely original, bold and daring exploration of the fields of theatre and performance studies and the received narratives and histories that underpin them. Rich with interdisciplinary reference, international, eclectic and broad-ranging in its examples, it offers readers a compelling and provocative reassessment of the disciplines, one that spans pre-history to the present day. Sixty years ago, in 1962, Richard Southern wrote a remarkable book called The Seven Ages of the Theatre. It was unusual in its time for taking a trans-disciplinary, new-historical

Performing arts. --- Theater --- Show business --- Arts --- Performance art --- Philosophy.

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Art --- art [discipline] --- performance art --- Moortel, Van de, Joris