EXPRESSIVE PERFORMANCE

Expressive Performance

Expressive Performance

Introduction

Performance art mostly refers to the performance that is confronted to an audience, but do not pretend to demonstrate a conventional play or a formal linear narrative, or instead does not describe a set of fictional characters in the script of formal interactions. Therefore, often they include some sort of action or the spoken word is a form of direct communication between audience and artist, rather than a script written in advance.

It often involves a dramatic artist is conscious and communicating directly with the public, as well as a singer or a performer in a concert program or a variety may be said to perform for an audience directly, rather than creating a fictional character who inhabits a fictional scenario dramatic on stage. Performance art often breaks the fourth wall, which means that the performance artist does not intend to behave as if they know of the hearing. (Windsor, 2009, pp 200-500)

Features of Performance Arts

Performance Art is life.

Performance Art has no guidelines or rules. It is an art because the artist says is art. Is experimental.

Performance art is not for sale. You can, however, sell tickets and film rights.

Performance art may be comprised of painting or sculpture (or both), poetry, dialogue, dance, music, opera, film footage became televisions, laser lights, live creatures and fire.

Performance art is a legitimate artistic movement. It has the longevity (some performance artists, in fact, have a fairly large body of work) and is a graduate course of study in many institutions of higher education.

Performance art is closely related to conceptual art. Both Fluxus and body art are the types of performance art.

Performance art can be funny, entertaining, amazing or terrible. No matter what the adjective is applied, which is intended to be memorable?

Expressive Performance

Experiences full of feelings occur through specific cultural processes that produce and perceive sound. Recent addresses in the phenomenology of the acoustic phenomena argue that the sound is not owned by a separate musical object of their origin, but rather, the meaning is sound in the game of musical sound. Dimensions of sensory experience suggests that the sounds can be heard as affective and emotional feeling full when perceived as musical patterns in specific cultural contexts. Phenomenological studies indicate the ways in which people relate to each other through the senses of hearing. A culture of hearing may make it possible to conceptualize new ways of learning a culture and gain a deeper understanding of how members of society know each other. In turn, individual and social processes perceive musical encounter not through the layers of the cognitive categories and symbolic associations, but with a skilled and sensitive body through habits copied from others and strictly enforced, through skills music. Listeners assimilate acquired habits of the sensory experience of musical systems affect them viscerally, and living organisms are formed by the patterns of action in relation to music while responding to the sound textures (McMullen, 2004, 289-311).

Performance emerges through the interaction of body language, discursive and performative ...