Monday, December 29, 2008
Sunday, December 28, 2008
Monday, December 8, 2008
表演藝術是藝術中的行動，某一個人或群體在某一特定地點和特定時間的工作構成。它可以發生在任何地方，在任何時間，或為任何時間。表演藝術可以是任何情況，涉及四個基本要素：時間，空間，表演者的身體和一個表演者之間的關係和觀眾。它反對繪畫或雕塑，例如，如果一個物體構成的工作。當然，線路往往模糊不清。舉例來說，工作的生存研究實驗室被認為是最為“表演藝術” ，但實際上表演的機器。 雖然表演藝術可以說包括相對主流的活動，如戲劇，舞蹈，音樂，和馬戲團相關的像火呼吸，雜耍，和體操，這些通常是不是被稱為表演藝術。表演藝術是一個長期保留通常指一種通常的前衛或觀念藝術的前身是視覺藝術。 表演藝術，作為任期通常的理解，開始將確定在20世紀60年代的工作，如藝術家伊夫克萊因，維托艾肯西，赫爾曼Nitsch ，克里斯負擔， Carolee史尼曼，小野洋子，約瑟夫博伊斯，沃爾夫福斯特爾和阿蘭Kaprow ，誰創造了長期現象。但是，表演藝術，當然預計，如果沒有明確制定，由日本Gutai組， 20世紀50年代，特別是在這些作品作為田中敦子的“電氣服飾” （ 1956年） 。 1970年，總部設在英國的配對，吉爾伯特和喬治，建立了第一個自己的“活雕塑”表演時，他們自己畫黃金和演唱的“拱下”長時間。除了開拓性的工作在錄像藝術的珠德Yalkut和其他一些表演藝術家相結合的視頻開始與其他媒體建立實驗工程像芝加哥的桑德拉比尼恩，誰高架平凡的活動，如熨燙衣服，洗滌步驟，餐飲和洗衣做藝術融入生活。比尼恩演出世界各地，是非常視為一個藝術家在歐洲。 西方文化理論家往往微量元素表演藝術活動回到20世紀初。達達例如，提供了一個重要的祖規表演的詩，往往是在歌廳伏爾泰，由這樣的理查德Huelsenbeck和特里斯坦查拉。然而，有文藝復興時期的賬戶藝術家把對公眾表演，可說是早期祖先的現代表演藝術。一些表演藝術家和理論家指向其他傳統和歷史，從部落儀式，體育和宗教活動。表演藝術活動並不局限於歐洲藝術傳統; 許多著名的從業人員可以發現在美國，亞洲和拉丁美洲。 在表演藝術，通常是一個或更多的人演出觀眾面前。相比之下，傳統表演藝術，表演藝術是非常規的。表演藝術家往往挑戰觀眾認為，在新的和非常規的方式對戲劇和表演，打破常規傳統表演藝術，並打破常規思路“藝術是什麼” ，類似現代藝術運動。因此，即使雖然在大多數情況下，表現在觀眾面前，在某些情況下，觀眾變成演員。性能可能是劇本，隨意，或即興。它可能把音樂，舞蹈，歌曲，或完全沉默。觀眾可以購買車票的性能，其性能可能是免費的，或可支付表演的觀眾觀看了演出。
Roselee戈德堡州表演藝術：從未來的現狀： “業績一直呼籲的方式直接向廣大公眾，以及令人震驚的觀眾將重新評估他們自己的概念，其藝術和文化關係。相反，公眾利益在中期，尤其是在20世紀80年代，源於一個明顯的願望，公眾獲取的藝術世界，是一個旁觀者的儀式和其獨特的社會，是感到驚訝的意外，總是非正統介紹說，藝術家的設計。這項工作可能提出的獨奏或組，燈光，音樂或圖像所作的表演藝術家本人，或在協作和演出場所，從一個藝術畫廊或博物館，以“替代空間” ，一個劇院，咖啡廳，酒吧或街角。不同的戲劇，表演者是藝術家，很少性格像個演員，和很少的內容如下一個傳統的陰謀或說明。性能可能是一個系列的親密姿態或大規模的視覺戲劇，持久從幾分鐘到幾個小時;它可能只進行一次或多次反复，或不準備劇本，自發簡易，或排練了許多個月。
表演藝術流派包括人體藝術，激浪，情況發生，採取詩，中間。一些藝術家，如維也納Actionists和新達達，喜歡使用條款生活藝術， “行動藝術” ，干預或“操縱”來形容他們的活動。這些活動有時也被稱為僅僅是“行動”。
Performance art is art in which the actions of an individual or a group at a particular place and in a particular time constitute the work. It can happen anywhere, at any time, or for any length of time. Performance art can be any situation that involves four basic elements: time, space, the performer's body and a relationship between performer and audience. It is opposed to painting or sculpture, for example, where an object constitutes the work. Of course the lines are often blurred. For instance, the work of Survival Research Laboratories is considered by most to be "performance art", yet the performers are actually machines.
Although performance art could be said to include relatively mainstream activities such as theater, dance, music, and circus-related things like fire breathing, juggling, and gymnastics, these are normally instead known as the performing arts. Performance art is a term usually reserved to refer to a kind of usually avant-garde or conceptual art which grew out of the visual arts.
Performance art, as the term is usually understood, began to be identified in the 1960s with the work of artists such as Yves Klein, Vito Acconci, Hermann Nitsch, Chris Burden, Carolee Schneemann, Yoko Ono, Joseph Beuys, Wolf Vostell and Allan Kaprow, who coined the term happenings. But performance art was certainly anticipated, if not explicitly formulated, by Japan's Gutai group of the 1950s, especially in such works as Atsuko Tanaka's "Electric Dress" (1956). In 1970 the British-based pair, Gilbert and George, created the first of their "living sculpture" performances when they painted themselves gold and sang "Underneath The Arches" for extended periods. Alongside pioneering work in video art by Jud Yalkut and others, some performance artists began combining video with other media to create experimental works like those of Chicago's Sandra Binion, who elevated mundane activities like ironing clothes, scrubbing steps, dining and doing laundry into living art. Binion has performed all over the world and is highly regarded as an artist in Europe.Western cultural theorists often trace performance art activity back to the beginning of the 20th century. Dada for example, provided a significant progenitor with the unconventional performances of poetry, often at the Cabaret Voltaire, by the likes of Richard Huelsenbeck and Tristan Tzara. However, there are accounts of Renaissance artists putting on public performances that could be said to be early ancestors to modern performance art. Some performance artists and theorists point to other traditions and histories, ranging from tribal, ritual to sporting and religious events. Performance art activity is not confined to European art traditions; many notable practitioners can be found in the United States, Asia, and Latin America.
In performance art, usually one or more people perform in front of an audience. In contrast to the traditional performing arts, performance art is unconventional. Performance artists often challenge the audience to think in new and unconventional ways about theater and performing, break conventions of traditional performing arts, and break down conventional ideas about "what art is," similar to the postmodern art movement.Thus, even though in most cases the performance is in front of an audience, in some cases, the audience becomes the performers. The performance may be scripted, unscripted, or improvisational. It may incorporate music, dance, song, or complete silence. The audience may buy tickets for the performance, the performance may be free, or the performer may pay the audience to watch the performance.
Roselee Goldberg states in Performance Art: From Futurism to the Present:
"Performance has been a way of appealing directly to a large public, as well as shocking audience into reassessing their own notions of art and its relation to culture. Conversely, public interest in the medium, especially in the 1980s, stems from an apparent desire of that public to gain access to the art world, to be a spectator of its ritual and its distinct community, and to be surprised by the unexpected, always unorthodox presentations that the artists devise. The work may be presented solo or with a group, with lighting, music or visuals made by the performance artist him or herself, or in collaboration, and performed in places ranging from an art gallery or museum to an "alternative space", a theatre, café, bar or street corner. Unlike theatre, the performer is the artist, seldom a character like an actor, and the content rarely follows a traditional plot or narrative. The performance might be a series of intimate gestures or large-scale visual theatre, lasting from a few minutes to many hours; it might be performed only once or repeated several times, with or without a prepared script, spontaneously improvised, or rehearsed over many months."
Roselee戈德堡州表演藝術：從未來的現狀： “業績一直呼籲的方式直接向廣大公眾，以及令人震驚的觀眾將重新評估他們自己的概念，其藝術和文化關係。相反，公眾利益在中期，尤其是在20世紀80年代，源於一個明顯的願望，公眾獲取的藝術世界，是一個旁觀者的儀式和其獨特的社會，是感到驚訝的意外，總是非正統介紹說，藝術家的設計。這項工作可能提出的獨奏或組，燈光，音樂或圖像所作的表演藝術家本人，或在協作和演出場所，從一個藝術畫廊或博物館，以“替代空間” ，一個劇院，咖啡廳，酒吧或街角。不同的戲劇，表演者是藝術家，很少性格像個演員，和很少的內容如下一個傳統的陰謀或說明。性能可能是一個系列的親密姿態或大規模的視覺戲劇，持久從幾分鐘到幾個小時;它可能只進行一次或多次反复，或不準備劇本，自發簡易，或排練了許多個月。
表演藝術流派包括人體藝術，激浪，情況發生，採取詩，中間。一些藝術家，如維也納Actionists和新達達，喜歡使用條款生活藝術， “行動藝術” ，干預或“操縱”來形容他們的活動。這些活動有時也被稱為僅僅是“行動”。
Performance art is art in which the actions of an individual or a group at a particular place and in a particular time constitute the work. It can happen anywhere, at any time, or for any length of time. Performance art can be any situation that involves four basic elements: time, space, the performer's body and a relationship between performer and audience. It is opposed to painting or sculpture, for example, where an object constitutes the work. Of course the lines are often blurred. For instance, the work of Survival Research Laboratories is considered by most to be "performance art", yet the performers are actually machines.
Although performance art could be said to include relatively mainstream activities such as theater, dance, music, and circus-related things like fire breathing, juggling, and gymnastics, these are normally instead known as the performing arts. Performance art is a term usually reserved to refer to a kind of usually avant-garde or conceptual art which grew out of the visual arts.
Performance art, as the term is usually understood, began to be identified in the 1960s with the work of artists such as Yves Klein, Vito Acconci, Hermann Nitsch, Chris Burden, Carolee Schneemann, Yoko Ono, Joseph Beuys, Wolf Vostell and Allan Kaprow, who coined the term happenings. But performance art was certainly anticipated, if not explicitly formulated, by Japan's Gutai group of the 1950s, especially in such works as Atsuko Tanaka's "Electric Dress" (1956). In 1970 the British-based pair, Gilbert and George, created the first of their "living sculpture" performances when they painted themselves gold and sang "Underneath The Arches" for extended periods. Alongside pioneering work in video art by Jud Yalkut and others, some performance artists began combining video with other media to create experimental works like those of Chicago's Sandra Binion, who elevated mundane activities like ironing clothes, scrubbing steps, dining and doing laundry into living art. Binion has performed all over the world and is highly regarded as an artist in Europe.Western cultural theorists often trace performance art activity back to the beginning of the 20th century. Dada for example, provided a significant progenitor with the unconventional performances of poetry, often at the Cabaret Voltaire, by the likes of Richard Huelsenbeck and Tristan Tzara. However, there are accounts of Renaissance artists putting on public performances that could be said to be early ancestors to modern performance art. Some performance artists and theorists point to other traditions and histories, ranging from tribal, ritual to sporting and religious events. Performance art activity is not confined to European art traditions; many notable practitioners can be found in the United States, Asia, and Latin America.
In performance art, usually one or more people perform in front of an audience. In contrast to the traditional performing arts, performance art is unconventional. Performance artists often challenge the audience to think in new and unconventional ways about theater and performing, break conventions of traditional performing arts, and break down conventional ideas about "what art is," similar to the postmodern art movement.Thus, even though in most cases the performance is in front of an audience, in some cases, the audience becomes the performers. The performance may be scripted, unscripted, or improvisational. It may incorporate music, dance, song, or complete silence. The audience may buy tickets for the performance, the performance may be free, or the performer may pay the audience to watch the performance.
Roselee Goldberg states in Performance Art: From Futurism to the Present:
"Performance has been a way of appealing directly to a large public, as well as shocking audience into reassessing their own notions of art and its relation to culture. Conversely, public interest in the medium, especially in the 1980s, stems from an apparent desire of that public to gain access to the art world, to be a spectator of its ritual and its distinct community, and to be surprised by the unexpected, always unorthodox presentations that the artists devise. The work may be presented solo or with a group, with lighting, music or visuals made by the performance artist him or herself, or in collaboration, and performed in places ranging from an art gallery or museum to an "alternative space", a theatre, café, bar or street corner. Unlike theatre, the performer is the artist, seldom a character like an actor, and the content rarely follows a traditional plot or narrative. The performance might be a series of intimate gestures or large-scale visual theatre, lasting from a few minutes to many hours; it might be performed only once or repeated several times, with or without a prepared script, spontaneously improvised, or rehearsed over many months."
Monday, December 1, 2008
Sunday, November 30, 2008
Friday, November 28, 2008
The Dance touched me; 最令我感动的舞蹈表演
这一生中我看过无数的舞蹈，歌剧与舞台剧的演出；我也看过世界第一流的舞蹈家们的演出，他们都是很神奇的。看他们的演出使我不断得到鼓励与欲望，这使我有不断进步的欲望与力量。
不过，我所看过最令我感动的一个舞蹈表演，并不是来自任何专业舞蹈家，更不是任何第一流的舞蹈团。
几年前，我所在的舞蹈团为一家“唐氏儿童综合症”医院筹款演出；演出完毕后。这家医院为了答谢我们，就邀请我们到他们医院参加他们的一个聚餐。当时院长说他们医院的小孩为我们准备了一个舞蹈演出。
他们都是一群“唐氏儿童综合症”的小孩；他们虽然不能和一般人那样正常的活动自己的四肢，他们虽然没有很好的音乐感，他们更没有很好的舞蹈底子。不过他们的认真与真诚，却感动了我；甚至感动了在场的所有人。
他们的眼神是那么的真诚与坚毅；仿佛在告诉我们：“我懂得只有这么多，不过，我很想与您分享我这一刻的喜悦！”
看着他们用尽了力气的舞动着身躯，面上那纯真的笑容，我的眼泪再也忍不住了。。。
这些小孩让我明白到，真正感动人的舞蹈是用心跳的。。
For all these years I have watched countless dance, opera and theatrical performances; I've seen world-class performances from those top dancers who are very fantastic.
From watching all these performances have made my desire to go further, to be encouraged to continue to progress and to further improve. This is my desire and strength. However, there is one dance performance that I was most touched, which is not from any professional dancers, neither from any first-class dancers nor dance group.
I remembered few years ago, where I performed for a Down Syndrome children hospital fund-raising event. As a token of appreciation by the hospital, we were invited to attend their dinner. And at that time, the president of the hospital was proud to present us a dance performance by their very own group of down syndrome children. These children are not like any normal person and did not have proper coordination between their arms and legs movement and further more they do not have any dance foundation and do not have a very good sense of music like normal people who be able to dance. But it was their seriousness and determination which touches me. Their eyes are so sincere and firm when they are looking at us; just like telling us: "I only know this much, but I would like to share the joy of this moment with all of you!". I can't stop my tears when i see their exhausted body hiding behind their innocent smile just to do whatever they could . . .These children makes me understand that a dance that really can touch a person heart, comes from the dancers heart.
不过，我所看过最令我感动的一个舞蹈表演，并不是来自任何专业舞蹈家，更不是任何第一流的舞蹈团。
几年前，我所在的舞蹈团为一家“唐氏儿童综合症”医院筹款演出；演出完毕后。这家医院为了答谢我们，就邀请我们到他们医院参加他们的一个聚餐。当时院长说他们医院的小孩为我们准备了一个舞蹈演出。
他们都是一群“唐氏儿童综合症”的小孩；他们虽然不能和一般人那样正常的活动自己的四肢，他们虽然没有很好的音乐感，他们更没有很好的舞蹈底子。不过他们的认真与真诚，却感动了我；甚至感动了在场的所有人。
他们的眼神是那么的真诚与坚毅；仿佛在告诉我们：“我懂得只有这么多，不过，我很想与您分享我这一刻的喜悦！”
看着他们用尽了力气的舞动着身躯，面上那纯真的笑容，我的眼泪再也忍不住了。。。
这些小孩让我明白到，真正感动人的舞蹈是用心跳的。。
For all these years I have watched countless dance, opera and theatrical performances; I've seen world-class performances from those top dancers who are very fantastic.
From watching all these performances have made my desire to go further, to be encouraged to continue to progress and to further improve. This is my desire and strength. However, there is one dance performance that I was most touched, which is not from any professional dancers, neither from any first-class dancers nor dance group.
I remembered few years ago, where I performed for a Down Syndrome children hospital fund-raising event. As a token of appreciation by the hospital, we were invited to attend their dinner. And at that time, the president of the hospital was proud to present us a dance performance by their very own group of down syndrome children. These children are not like any normal person and did not have proper coordination between their arms and legs movement and further more they do not have any dance foundation and do not have a very good sense of music like normal people who be able to dance. But it was their seriousness and determination which touches me. Their eyes are so sincere and firm when they are looking at us; just like telling us: "I only know this much, but I would like to share the joy of this moment with all of you!". I can't stop my tears when i see their exhausted body hiding behind their innocent smile just to do whatever they could . . .These children makes me understand that a dance that really can touch a person heart, comes from the dancers heart.
Thursday, November 27, 2008
Wednesday, November 26, 2008
My Philosophy of dance: Kai Beng
1. 我喜欢舞蹈的最主要原因是因为，在舞蹈的世界里是没有对手的；唯有你与镜子中的自己。
The main reason why I love “dance” so much is because, in the world of “dance”; there is no “Competitor”, but just you and yourself in the mirror.
2. 舞蹈与音乐是一种人的精神与肉体的对话方式；也是一种人与人的精神交流管道，因此舞蹈与音乐是不分种族，肤色，宗教与任何差异的。更绝对不是一种政治的手段。
Dance and music is a dialogue between human spirits and body; a channel of spirituals communication for human bring. There for dance and music, regardless of race, color, religion and any differences. More is definitely not a political tool.
The main reason why I love “dance” so much is because, in the world of “dance”; there is no “Competitor”, but just you and yourself in the mirror.
2. 舞蹈与音乐是一种人的精神与肉体的对话方式；也是一种人与人的精神交流管道，因此舞蹈与音乐是不分种族，肤色，宗教与任何差异的。更绝对不是一种政治的手段。
Dance and music is a dialogue between human spirits and body; a channel of spirituals communication for human bring. There for dance and music, regardless of race, color, religion and any differences. More is definitely not a political tool.
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