Testhatársértések – a performativitás kegyetlensége

Crossing the Body/Borderlines – the Cruelty of Performativity

Orbán, Jolán

Edélyi Múzeum-Egyesület

2018-09-20T09:50:45Z

2018-09-20T09:50:45Z

2014

2014

írás

test

kép

Analyzing Botticelli’ painting The Story of Nastagio degli Onesti and interpreting Boccaccio’s novel with same title, Georges Didi-Huberman remarks: “As far as I know, no art historian has asked the question why the young female body haunted by the knight is nude.” (Opening up Venus. Nudity, Cruelty and the Dream, 1999) In his interpretation the function of nudity is “to capture the gaze of the viewer”, and the blindness of art historians has to do with the tendency of philosophical thinking to cover the nudity of the female body with metaphysical, ontological, esthetical explanations, concepts, symbols, allegories. In the centuries that have passed from the Venus of the Medici’s to the Venus of Media, the conditions, methods and techniques of representation have changed a lot, however, the “ambiguity” concerning the interpretation of nudity has remained the same. In my paper I would like to focus on two events challenging our understanding of the role and function of nudity in Western culture, namely the theory and practice of Antonin Artaud’s theatre of cruelty, as well as Günter Brus’s performance art, especially his “Zerreissprobe/Breaking Test” (1970).

15-36. old.

magyar

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https://eda.eme.ro/xmlui/handle/10598/30725

Edélyi Múzeum-Egyesület

Erdélyi Múzeum-Egyesület