| By: |
Vasilieva, Zhanna (Васильева, Жанна) (The Russian Presidential Academy of National Economy and Public Administration);
Dunaeva, Alexandra (Дунаева, Александра) (The Russian Presidential Academy of National Economy and Public Administration);
Zolotukhin, Balery (Золотухин, Валерий) (The Russian Presidential Academy of National Economy and Public Administration);
Liderman, Yulia (Лидерман, Юлия) (The Russian Presidential Academy of National Economy and Public Administration) |
| Abstract: |
The subject of the research is various practices of the live art and spatial
reflection in them. The purpose of this study is to identify the correlation
between the “spatial turns” of the history of Russian live art and social
ideological contexts. The relevance of the research is associated with the
study of the function of spatial reflection in a new, increasingly virtualized
cultural situation, developing in response to the restrictions imposed because
of the pandemic. The novelty of this research is associated with the
introduction into scientific circulation of various archival documents from
the history of the latest forms of the live art in Russia in 1990-2010. Also
new is the cross-institutional understanding of the object of research,
covering both theatrical and photographic, expositional art practices outside
the theater and museum building. Poststructuralist art theory and cultural
memory theory became key theories on the basis of which analytical approaches
to understanding the current artistic process were developed. The work
resulted in theoretical developments for the study of the spatial aspects of
the latest practices in live arts, as well as the identification of social and
cultural contexts that are key to the history of art in situ in Russia. The
negative aesthetics of theatrical events mastering non-theatrical spaces:
streets, foyers, roofs, squares, natural landscapes open up the possibility of
analyzing the theatrical process and its auto-reflective function. Theatrical
and performative events turn out to be closely integrated into such social
processes as cultural democratization (inclusion of more and more new groups
in the processes of cultural interactions), commemoration (the creation of new
rituals and narratives for memory and preservation of cultural heritage), as
well as in the processes of creating and drawing attention to the public
spaces of a modern city. We believe that a necessary step for the development
of the theory of contemporary art is the inclusion of a cross-disciplinary
understanding of the object of study, in which live performing arts,
installation arts, visual arts, video and audio experiments in exhibition
projects would be considered together and thus the ideas and concepts of
post-structuralist cultural criticism could be applicable to the contemporary
art process. |
| Keywords: |
Live art, performance, politics of space, inclusion, theater outside the theater building, communicative memory, Russian theater |
| Date: |
2021–12–14 |
| URL: |
http://d.repec.org/n?u=RePEc:rnp:wpaper:w20220154&r=cul |