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PERFORMANCE, A PERSONAL HISTORY Bonnie Marranca I A fter a century of hybridization in the arts, the concept of âperformanceâ has come to the forefront of contemporary thought on art and culture. The word âperformance,â whether it describes a live event or personal acting out; or the features of a car, a perfume, a sound system; and whether it refers to economy or therapy or the act of mourning, performance now shapes contemporary thinking about people and things. Some of the chief preocccupations of our timeânamely, spectatorship, memory, the bodyâare framed within the terms of performance. Offering a vocabulary of human action that can be used to shape a view of the world and its histories, performance is the condition to which American culture increasingly aspires. Who doesnât want to be an American âidolâ? Reality shows have brought to the culture the national theatre America always lacked. The borders delineating art, culture, and commerce, art and entertainment, and experimental art and popular culture, have been blurred for a long time. Likewise, the separation between visual and theatrical arts has become less pronounced. Museum shows on post-war American art have increased the attention given to performance, video, dance, and
PAJ: A Journal of Performance and Art – MIT Press
Published: Jan 1, 2006
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