Culturological performance as a research practice
DOI:
https://doi.org/10.33910/2687-1262-2022-4-1-59-67Keywords:
performance, performativity, culturological performance, performative approach, culturological approach, everyday lifeAbstract
This article reflects on the experience gained in thinking through an idea of, organising and conducting a performance within the framework of studying the relevant subject. Today, the very concepts of “performance” and “performativity” are applied to the widest possible range of phenomena, with the establishment of performative optics and research paradigm in the humanities in recent decades. The performative approach to the study of cultural phenomena assumes an active activity-based nature of the subject of study. Therefore, to study such a dynamic object, it is necessary to take into account the context, which largely determines the variability of its values and meanings. The performative approach to the study of language, artistic, social and cultural practices and rituals is one of the most promising and relevant today. It is precisely this broad applicability of the concept and its appeal to the democratic nature of art that provoked the experimental performance.
In the course of the performance, we came up with the concept of “culturological performance”, as it most accurately captures the essence of the work performed. A culturological performance is not a work of art of a procedural nature, it is not performed by an artist. Its essence is to study the performance itself, the mechanisms of its creation and the results of its implementation. During the discussion on the results of the experiment, it turned out that the meaning of the performance is mobile, it is not set initially, but is literally produced as it develops. A performance created by an artist and representing a work of art can be seen as a model of all the diversity that can today be considered performative phenomena.
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