#performace art

[hotcocoandmarshmallows]

Is fanfiction about Cars (2006) funnier if the cars are humans or still cars

Turning the cars into humans is funnier

Keeping the cars as cars is funnier

Why are you even wondering this op

Voting ended onDec 11, 2023

[lesflicksvod]

Watch: Pineappe (2020) On LesflicksVOD

Synopsis: An ambitious artist struggles to bury her envy when her idle girlfriend captivates the art world with an accidental masterpiece.

Director: Max Lincoln

Starring: Joseph Capp, Nick Finegan, Natalie Simpson, Cherrelle Skeete.

[bookfacearts]

Natalie Wilcox, Front Room Theatre, performing Bob Cratchit's song for Bookface, from Charles Dicken's 'A Christmas Carol'

[fuckyeahanarchistposters]

[thedustyrebel]

Johan Figueroa-González

Washington Square Park, NYC More photos: Johan Figueroa-González, Buskers, Living Statues

[roosknap]

Marina Abamovic , performance art with Ulay

Thank you David

[forgottenbones]

Fake Pandemic Introvert vs. Real Introvert

No post today. The real introvert ran out of yeast and flour long ago.

Gridalo dai tetti che sei introverso!

[kaylie-rose-photo]

Nat Randall

Nat Randall’s work The Second Woman explores gendered power dynamics in the everyday. Through repetition the show highlights differences and consistencies in gender performance across ages, professions and borders. The work also demonstrates the symbiotic and reactionary relationship between gender, performance and power.

(Randall, 2017).

The female performer is a constant and by introducing a new male participant with each show, the archetypal male/dominant, female/submissive dynamic is subverted. The set is her domain, she has rehearsed there and performed the show a number of times, he has never been in the space before. She must react and respond to him, but is in control of how the show progresses. Further, because the female performer remains, the male participants are viewed in relation to each other and common elements of performative masculinity appear. The artist says,

“Femininity is historically associated with performance, and masculinity is historically associated with authenticity. Obviously both genders are performative…And yet in the show, because the male-identifying participants are portrayed in relation to one another, what you begin to notice over time are the generic characteristics of their presentation.” (Randall in Stone, 2019).

The use of cameras to live record and mix shots of the show as it unfolds, especially close-ups of the performers’ faces, allows the audience to more closely analyse and dissect the subtleties of performed masculinity as it responds to performed femininity. The fact that the entire crew of the production is non-male identifying strengthens the discerning focus of the audience onto the reactionary behaviours of the male performers rather than the female performer.

Through casting local female performers and male participants for each of the international showings, The Second Woman reflects the audiences own unique gender performance characteristics back at itself. Similarly, by having several locale specific international versions of the show, which is itself repeated over and over, each audience is forced to view their own iterations of gender performance and related power dynamics in a global context. The show acts as a lens through which the viewer is confronted with their place in acting out and perpetuating those dynamics in their everyday life.