"The subjective body has a mobilizing potential to increase its effectiveness in societies marked by widespread hypermediation and theatricality. The mobilization may occur as action, location, course or meeting and help from the co-presence to think about new ways of relating . In some cases, such mobilization may turn out to be subversive, and this explains the persistence of censorship, even in the context of our democratic societies (a censorship which tends to hide the body of the actors apparently weakest: the child, animal, the clown, the naked guy). The subversiveness can affect the values, customs, the ideas, but above all affects the way you look. The transformation of the gaze is one of the strategies favored by the artistic practice to intervene in the debate on culture.
Freed from the protections and imposes limits offered by the institution that routinely hosts cultural, theater, dance and performance art are displayed as means to present and activate the body subjective and, as such, capable of constant movement in search of new concepts of relationship and new ways of looking. Viewed from this potential, creating unprecedented stage acquires relevance in the context of contemporary culture, because represents the body but works in the body and from the body, and because it represents the agreement but that requires spontaneous or artificial joint of a group of people around a proposal that takes place over time.
The stage enters the museum does not, as in the past, for their match in the form (or in the abstract or in the process) with contemporary visual practices, but for his agreement on the need to propose new readings of history, raise critical discourses (or alternative) and imagine the reality of living concrete projects. "
" The challenge is audience that presents itself to visual artists: how to make the public stop not suit as in a theater, or that they walk as on a visit to an exhibition-show but to accept the invitation to play, temporary suspension of the rhythms of daily life and can thus be part of an experience, a discussion or project. The viewer, in the bourgeois conception of the stage, buy the time of the other so that the other act and / or live by. But there is another spectator model accommodated: one that contributes to their work (money + time + presence) to the generation of speech. The viewer is not expected that this is not merely receive a finished product that meets the expectations of pleasure announced in the ticket price, but also recognize the assumptions, methods, processes, and the openings that have allowed or are allowing that speech generation how to share the process without adversely against the core magic that allows the emotion or surprise? "
THEATRICALITY and visual culture. José Sánchez.
Magazine Published in 0000, Museo Reina Sofia, Madrid, 2009, pp. 8-11
Source: http://arte-a.org/node/366
