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Les performances ont-elles encore un impact critique ?

Abstract : Why has performance become banal and spread into small events like openings or street theatre? What signals the fact that it is simultaneously integrated into famous institutions like New Yok Moma, London's Tate Modern or Paris 'Palais de Tokyo ? What are the meanings of this institutionalization, whereas performance was aimed to be critical of institutions, from Dada to new practices in the sixties and seventies, as it was pointed by Peter Bürger ? The article questions the changing value of the definition of performance, and introduces the questions dealt by the 28 articles of the book La performance, encore. It also questions the political impact of the interactions between different artistical disciplines (theatre, choregraphy, visual arts, sounds) that characterize this mode of expression. How this supposedly ephemeral practice, formerly dedicated to the liberation of the body, thinks of its own transmission, its activities in newer forms ? What forms (which reenactments ) are implied through its institutionalization ?How does it react to the art market, to medias ?
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Contributor : Sylvie COËLLIER Connect in order to contact the contributor
Submitted on : Saturday, March 4, 2017 - 4:37:17 PM
Last modification on : Wednesday, November 3, 2021 - 9:43:29 AM
Long-term archiving on: : Tuesday, June 6, 2017 - 12:27:48 PM


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  • HAL Id : hal-01478080, version 1



Sylvie Coëllier. Les performances ont-elles encore un impact critique ?. PUP. La performance, encore, pp.9-23, 2016, 979-10-320-0069-4. ⟨hal-01478080⟩



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