Marina Abramovic Body Art

The use of theatrical elements in Jiri Kylian’s dances is a defining characteristic of his style as a choreographer. He chooses to use plain, often nude coloured costumes in all his dances, for example in ‘Sarabanade’ and ‘Petite mort’, the dancers look naked. This is a personal choice and was done to reinforce his views that dance should be about ‘dancing not the costumes’. Also this nude costuming matches the

The ever so sharp, showbiz man himself, Bob Fosse, strategically choreographed his personal movement styles on his dancers in order to achieve his meticulous vision. This flashy man was not looking to put something on the stage that is easy; he wanted the audience to experience the realistic, graphic, and relatable scenarios that life throws at you, on a stage and in 3D. Fosse misrepresented cultural styles, which he included into his pieces and even altered most of the styles he was trained in. The basis of his work was shown through comedy, and in his translation, he tweaked the movement of his technical training in order to attain the comedic center of his work. He never truly meant to make fun of distinctive cultures by utilizing their forms, but because of the circumstance that he never formally trained in these various cultural practices or studied their form and meaning, he used them in his choreography, which almost always used either sexual content or comedy, his choreography is a misrepresentation because it does not properly embody the cultures.

The choreographic intention of “Emergence” was the exploration of merging diverse elements together to see what comes from it, like the emergence in relation to arrangements and structures made in nature. The choreographic intention expanded from the idea of concealment. This was clearly identified in the beginning trio where the female dancer is shown trying to escape from her hiding place. In appraisal, the choreographic intention of “Image” was a more simplistic interpretation, one that explored identity and how it is made up of personal experiences we endure and that along the way we are influenced and sometimes inveigled, which can make revealing who we really are at the core oppressive. In comparison to “Emergence”, the movement in “Image” was more vague and indefinite in relation to linking movement to the choreographic intention. Through manipulation of structural devices such as groupings, stillness, tempo and dynamics, the

acques LeCoq, a French practitioner and Augusto Boal, a Brazilian practitioner both aim to take their actors and the audience on a journey of discovery. Both Practitioners believed in ‘Freeing’ the body and making it ‘De-mechanicalized’ to enable full interpretation. LeCoq and Boal both use emotion, imagination, extensive body movement, playfulness and political matters to create their methods of theatrical practice.

Petipa’s production of Swan Lake is a beautiful example of the structure movements that dancers must perform; in the clip titled Odile entrance & Black Swan pas de deux, you see “The Black Swan” perfect posture and balance, dancing on en Pointe all the while managing to gracefully seduce the prince through her seductive movements and entrancing expressions. In contrast Modern dance focus is on the dancer expressing their inner most emotions and feelings through free flowing movements. The modern dancer uses their whole body more naturally and fluidly to convey what their current emotional state is, unlike classical ballet where the ballerina at all times keeps an upright posture, and performs with structured, angular lines. Martha Graham’s “Frontier” is a great example of the free movements of Modern dance; In this performance Martha Graham uses her whole body to move to the rhythmic sounds of the drums and music, you can clearly see that there is no confined structure in this performance, she is completely moving organically to how she is feeling and what she is trying to convey through her movements.

Different fashions will come in and out of style but people want to be able to stand out in their own manner showing the world how they express themselves. A common form of self-expression is by getting a piercing or tattoo, something that can set a person apart from the majority. Body piercings and tattoos on women at one time were unacceptable and distasteful in the United States. However over time women having assorted types of body art has become more acceptable in society. Today young women at the University of Massachusetts Dartmouth, use piercings and tattoos as a form of self-expression that is vastly encouraged by peers and social media. Each woman has a different reason for why they personally want a piercing or a tattoo but are there some factors that have influenced the college community of women as a whole?

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

For example, the Talking Heads music video demonstrates an intricate and delicate artistic form, through freely-moving dancers. Furthermore, this illustrates each dancer’s unique way of performing, supporting the characteristics of Renaissance and Enlightenment forms of art and music. In effect then, the Renaissance and Enlightenment Era have directly impacted the Post Modern Era forms of art and music. Another characteristics of the Renaissance and Enlightenment periods, that relates to the Postmodern Era, is the idea of the opening of one’s mind to new opportunities. To illustrate, in the Talking Heads Music video the dancers seem to flow through their dance moves, while delicately illustrating their art form, and the manner in which it is ever-changing.

Performance art at that time was an emerging art form that rapidly gained popularity, allowing artists such as, the aforementioned, to express themselves in ways that aimed to bring about social and political change. Because performance art emphasized the artist’s action and the viewer’s experience of that action in real space and real time, it rarely yielded a final

After each person she would look down and wait, cleaning her mind for the next person, so each person would have a clear and unique moment with the artist. She treated everyone she sat with, with the same attention as everyone else and people were shocked by it. There were many reason why they came and sat infront of her, some of them were angry some wanted to know what would happen and others fell in love with her. Others were incredibly open and and had so much pain, it would invoke emotion in Abromavic and many times she was moved to tears. Of course, being still for day on end with nothing to distract you would have psychological impacts on your mind and Abromavic was left with nothing but her mind and her vistors. Her emotions would have

Feminist art sought to elicit a response from its audience in order to get people to acknowledge and discuss feminist issues so that society as a whole could move toward change. By challenging the norms of patriarchal structure – not only within the art community but in everyday life as well – feminist art worked in parallel with the core objectives of feminism. A key component of feminism is confronting the oppression of women, and feminist artists addressed this in many forms, one of which was bringing light to violence perpetrated against women. This theme in feminist art helped to foster a dialogue that forced viewers to talk about violence against women and inspire involvement towards a less complicit society. Feminist art is particularly powerful because it worked to educate its viewers on the extent of this problem, as well as empower and heal victims.

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.

Opal Loop/Cloud Installation is a self-reflective performance dance piece which strives to display some of Trisha Brown’s beliefs regarding dance itself, primarily the joy in accessing approachable dance and the interconnectedness that can support dancers and viewers alike in achieving through an endless phrase of movement. The Cloud Installation portion of the performance highlights the ephemeral, and elusive aspects of dance as a performance and art subject. Trisha Brown’s work focused on expression of beauty through natural movements, cause and effect of movement within the body which she dubbed “the line of least resistance” (Macaulay) and inventiveness, use of set and sound in unexpected and novel ways. She employed the use of pedestrian

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

While Venessa Beecroft uses pure nudity to express her point of self-image, the western society’s distain on nudity and the human body and the sexualisation of the human, particularly female, body. Using models or random actors she poses them as mannequins, allowing the audience to allow them to be seen them only as inanimate objects but because the bodies are human, the shift, scratch or other natural movements humans do, it is impossible to ignore the models, and forcing them to change their perspectives of the models and their nudity. Her reputation of this technique in her art, reveals a fascination of the reaction modern people tend to have towards nudity as well as, Beecroft’s interest in society’s treatment of women’s bodies and the judgement that comes with it. While with Julie Rrap, she has a larger range of messages she investigates but they still revolve around the body and feminism. Rrap uses unique techniques to complete her are like with ‘Milk Down’ using a mould of her own beats to create frozen-milk replicas, and photographing their slow melting process, this drew interest not only for the message but it drew with its odd display, people were half trying to figure out the technique behind the art. This style is a complete opposite to her other chosen work, ‘Installation Disclosures’, using the technique