行为艺术中隐匿的导演性

发布时间：2018-05-01 06:38

本文选题：表演艺术 + 隐匿的导演性　；参考：《中国美术学院》2014年硕士论文

【摘要】：艺术运动的变革，在二十世纪观念艺术的语境下，带动了表演艺术的变革，不断地催生出新的艺术观念和艺术主体。就整个当代艺术而言，对艺术领域的影响最大的艺术运动,当之无愧的是二十世纪三十年代美国的现代艺术运动，即将艺术日常生活化作为创作的标杆。从马赛尔·杜尚（Marcel Duchamp,1887-1968）将现成品直接作为艺术作品，及约瑟夫·博伊斯（Joseph Beuys,1921-1986）提出“人人都是艺术家”的观念，到约翰·凯奇(John Milton Cage,1912-1992)颠覆古典音乐美学，这些都表明了以观念艺术为先导的艺术理念得以推广，颠覆古典美学时代已经到来。在此背景下，，“表演艺术”应运而生。在其过程中，“导演性”逐步成为艺术创作中的重要理念因素或载体。“去导演理念”逐渐被艺术家广泛应用，并逐渐成为一种独特的表演形式。然而通过选取具有相似表演形式的艺术作品或流派进行比较分析，我们又能发现“导演性”因素的存在。本文探讨的就是“表演艺术中隐匿的导演性”。本文主要以研究“艺术主体”作为出发点，其中“艺术主体”可以是艺术家、表演者、观众等等。进一步分析隐匿的“导演性”在当代“表演艺术”创作中是如何分工的，思考在表演艺术创作领域中“导演性”的不确定性、暗隐、不可见是如何运转的。探究为何艺术创作主体不是作为合作者而是操盘手及其背后理念的提供者。同时，笔者结合个人的一些艺术创作与实践，对“隐匿的导演性”这一理念在艺术创作中的运用进行了深入探索与研究。此外，表演艺术相关的文献目前在国内研究领域尚无权威的汉语文本，笔者也是对此进行初步的尝试性研究。
[Abstract]:The change of art movement, in the context of the concept art in the 20th century, has led to the change of the performing art, and has constantly given birth to new artistic concepts and art subjects. As far as the whole contemporary art is concerned, the art movement, which has the greatest influence on the art field, is the modern art movement of the United States in the 1930s, which regards the daily life of art as the benchmark of creation. From Marcel Duchampan (1887-1968) and Joseph Boyce Joseph Beuysn (1921-1986), who put forward the idea that "everyone is an artist", to John Cage John Milton (1912-1992), he subverted the classical music aesthetics. All of these indicate that the art idea which is guided by the concept art has been popularized and the era of classical aesthetics has been subverted. In this context, "Performing Arts" came into being. In its process, directionality has gradually become an important conceptual factor or carrier in artistic creation. The idea of dedirecting has gradually been widely used by artists and has gradually become a unique form of performance. However, through the comparative analysis of art works or schools with similar performing forms, we can find the existence of "directorial" factors. This paper discusses the hidden directionality in the performing arts. This article mainly studies "the art subject", among which "the art subject" may be the artist, the performer, the audience and so on. This paper further analyzes how the hidden "directionality" is divided in the contemporary "performing art" creation, and thinks about the uncertainty of "directionality" in the field of performing art creation, which is hidden and invisible. Explore why the subject of art creation is not a collaborator but a trader and the provider of ideas behind it. At the same time, combining with some personal artistic creation and practice, the author makes a deep exploration and research on the application of the idea of "hidden directionality" in art creation. In addition, there is no authoritative Chinese text in the field of domestic research.
【学位授予单位】：中国美术学院
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J04

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