Thinking About Performance Art by Dagmar I. Glausnitzer-Smith
The creative process can only take place with the presence of a relationship between the body, the object and the mind. The body is the medium through which a creative flow transpires into the world. The act of drawing seen through the momentary manifestation of traces and marks are imprints and become visual layers of associations.
Objects (personal, made, selected, found), drawing tools, special papers and text become the inventory of the archive during the process of performance.
Improvisation is used to find out what the body can do and by experimentation, to distort and reinvent what has been observed. Observation and memory become a pool of resources, which the performing body can access in the context of its own presence in a chosen environment.
Connecting to the body is to de-socialize and to discover non-habitual ways of interacting, to take a different position and permit aspects of reconnecting with others.
It is assumed that the body is controlled by the mind alone. That idea is very limiting. Body and consciousness are invisible in practice, and the function of the brain cannot be separated from the function of the body.
Material and object, space and time cannot become the hindrance to realize the creative act; the artist, their body, and mind are materials for the work. Spontaneity and discipline are the main aspects of the work and the artist requires a serious investigation for a methodological structure in approach and action. There is a starting point, which reveals clarity and evidence; it is the result of personal conviction and understanding of life experience. And individuality has a demand for totality[.]
This text was contributed to ARTLURKER by Dagmar I. Glausnitzer-Smith.
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