Theatricality as an expanded field
Aesthetic experience as an instrument for emancipating the spectator
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In view of the ruptures generated throughout the 20th century in the field of the visual arts, the aim here is to investigate how the reformulation of the concept of the work of art and its place of exhibition has led to objects and spectators acquiring the autonomy of actors on stage, thus opposing the immobility and contemplation of the spectator in front of the work of art and problematizing the specificities and modes of two artistic languages of interest to this work: the visual arts and the performing arts. This research investigates implicit elements of [theatricality], a concept that c...
In view of the ruptures generated throughout the 20th century in the field of the visual arts, the aim here is to investigate how the reformulation of the concept of the work of art and its place of exhibition has led to objects and spectators acquiring the autonomy of actors on stage, thus opposing the immobility and contemplation of the spectator in front of the work of art and problematizing the specificities and modes of two artistic languages of interest to this work: the visual arts and the performing arts. This research investigates implicit elements of [theatricality], a concept that comes from the theatrical scene, in this new art that is being presented, as well as in everyday social representations. Or, rather, a dramaturgy of silence that has become potent off the stage and is configured in a new relationship between the observer and the thing observed, revealing new spaces of representation. In the search for the recognition of theatricality in a non-theatre, the study aims to draw analogies between the proposals of Jacques Rancière's Ignorant Master and the new relationship established between the spectator and theatricality.
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