Essay Example on Live Art: Bringing Innovation to Performance & Events

Introduction

Live art refers to events and performances staged or undertaken by a group of artists that involves innovation and explanations in natural forms. The term usually refers to action art, performance art, and their precursors coupled with developments of the 1960s("What Is Live Art? | Joshua Sofaer"). The coordination and promotion of the activities in the field of live art fall under the mandate of the Live Art Development Agency founded in the united kingdom. Live art also refers to the application of animals and plans in the performance. The concept of live art entails body performances and movements. This paper gives a detailed discussion of the body in terms of its aesthetic and political potential in performance art.

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The concept of performance art can comprise of various entities at once. These entities include reflexive, artful, and consequential wellbeing of the body, majoring in emergent and traditions. Multiple aspects make the performance concept special, which provides economic, political, social, historical, and personal contexts. The performance comprises of a more prominent tradition, the creator and the audience interacting with any given type of live art. The most excellent form of art consists of the body movement of the performer's body("What Is Live Art? | Joshua Sofaer"). Since the artists use the physical body to express their distinctive views and make their art more lively during the performance, the body proves an essential element. The artists over a long period used themselves as sculptures or canvas. This concept results in a confrontation between the audiences and the artists on various performances. The new encounter between the artists and the audiences contributed to the rise of a new idea of experiencing art.

The body contributes significantly to the concept of performance in various ways. The respect the Greeks accord the human body proves its importance, and the artists continue to grant the body concerning the performance. The human bodies compare to machines in the performing. Before the presentation of body art, there exists a need to consider that the body and mind present an interconnected entity that coordinates during the performances and exhibitions.

The human body also relates to art and society(Vogiatzaki, Emmanouela, and). The need to treat a psychological problem to cure the physical problem suggests a connection between body, spirit, and performance. The human body represents art, which acts as a reflection of our body based on the practices of the biological body.

The Cyborg Body In Performing Art

The current globalization of technology has led to a significant revolution across significant sectors of the economy. The concept of performance arts remains one of the globalization of the area continues to impact. The modern art of performance borrow, assimilate, and conceptualize new bodies that will new worlds. The performing artists continue to invent the construction of humanoid resembling the advanced golem. The contemporary golem entailed a man built with pigskin and characterized by their penis sensitivity to modern music produced by humans. The major attraction of this invention lies in its interaction with the audience(Vogiatzaki et al.). The creature comprised of a funny animal which caused the spectators to laugh at its reaction. The inventor of the cyborg entertained the spectators through the use of the body. The most important question that arises from the invention includes asking what type of performer the inventor created by using the concept of the human body.

The audience can decide to stay or leave the performance space depending on how well the body entertains or makes them impressed. The other inventors of performance majored on the body invented the "epizoon," which constituted of electric cables attached to the human body to enhance their performance(Vogiatzaki et al.). The system user or the spectator can manipulate a performer's body and managed the body in pre-staged programming. This concept contribution to an artist's body transformed into a program of locations and movements. The live performance included the two participants identifying themselves with each other in any given performance.

Manipulated Spectators in Body Performance

The most significant idea behind the concept of manipulated spectator entails using the body to manage the audience. The argument in the notion involves the replacement of the human body by a uber marionette. The theory o manipulated body argues that actors must leave from stage to gain control over their performances (McIlwraith). The collection of a performer represents an object subject to change or controlled through manual or electronic means. During concerts, the artist's body identifies with certain things and travel in the imaginary world. The conce[pt of using the body to invent other forms of stage props and performers depends on the identification of the performer and the spectator.

Representational Staging of The Body

The body manifests itself in various ways, including verbally, echoing that points out to absence in the scene of the performance. The artist tries to sanitize and codify the concept of the body in live performances(McIlwraith). The codes and sanity help the audience perceive it as unification that gives rise to different corporations of the body in producing movements that contribute to adding life in performance. The performance of the actor and the body in live art rests in our capacity to focus on postmodern theatrical performance and open the possibilities of performance and action in the live art industry.

The concept of bodyism represents an enthusiastic attendance to audience events by using the body to provide more presentation than the theatre contribution of the body in any given performance. The organization acts as a source material in any concert, and the artist uses the body to communicate different ideas. The concept of using the body for physical performance contributes to a dire need for the presence of the performer in a presentation. The absence of the performer on the live stage hinders the creativity employed by the artist using the body to add flavor to the performance(McIlwraith). The body helps to add the flavor of presentation through the inclusion of different parts of the body to communicate.

The Body As A Central Object In Dances

The artists use the body to express a concept that exceeds the standard presentation of music by incorporating moves and a revolutionary dance that contribute to the physicality of the body. The idea of the human body in live art marks the Avante Garde era, where the current live stage artists. The body acts to coordination with other organs to produce a rhythmic movement that processes the unique dance styles (Boustany). The centrality of the frame ensures good coordination and ensures that the body organs flow with the beats and the rhythm.

The Aesthetics Of Body Language And Relationship To Art

The body communicates significantly in our daily life. Body language runs every waking moment of our lives. This awareness enhances knowledge of how energy transmission happens between people despite the words and sounds we use(Boustany). Additionally, it expresses our opinion and position; it deceives our true identity and intentions. Cadaver speech constitutes a demonstration of our emotions. If you research more profound, you gain awareness of the inconsistencies that often appear between a person's original objective and what is happening. These inconsistencies can distort the message a performer wishes to deliver to the audience. The performer in live art employs various concepts on stage. These concepts include:

The rhythm of the knee and time-beating issue

Beating time remains among the largest ordinary gesticulations; the process happens through the knee, elbow, foot, or toe. The gestures related to the beating of time affects the accuracy of a performer(Boustany). Many times the gesture bears little relation to where the performer intends to place it. Frequently these results to lack certainty in our coordination and lead to unnecessary tension. By demanding to compel bodies to recline with moments, a bigger manifestation of the motion, and further essential uneasiness. This sort of body verbal communication contributes to practical tribulations, including melodic suicide.

The breath seizure

The most common movements associated with these are the downwards swipe as breathing in takes place, or the tight lifting up of the shoulders. This movement has effects like looking terrible and destroying the journey of the phrase(Boustany). Besides, these movements severely undermine the ability to breathe in an unhindered way.

How to hold the goblet

The way a goblet holding and the process of moving fingers over the keys tell us a lot about the relationship with the instrument. Holding a cup should equalize holding friend. The player needs to be firm, flexible and trusting(Boustany). This process affects the tension on the levels of playing, also the quality and beauty of the sound we produce. The performer holds the goblet with authority, without losing any sensitivity in the process.

The eyes acting as spirit window

The least and mainly important stiff speech disclosure happens throughout the performers' eyes. The ogle act as the crucial position of our atmosphere as an individual creature. This concept entails the need to maintain eye contact during a conversation. Maintaining eye contact reveals the truth during requirements.

During chalice in performance, the cadaver speech happens in the eyes and turns massively relevant, but most people overlook the idea(Boustany). The concrete resonance construction on the goblet proves practically indistinguishable, but the outcome of the appearance of the performer's eyes leads to the development of an enormous amount. The performer needs the poignant foundation following our intermittent, recoiling, and staring at the ground or ceiling.

Political Potential Of The Body

The concept of political capability concerning performance describes the negations for and among artists in analyzing and debating how art overcomes and transforms schemes. The idea of the political potential of the body comprises marking live architecture more robust that the people feel its impact (Pagnes). The performance seeks to unite itself with the world through the performer's perception and how the audience perceives the concept. The concept of production depends on how the performance expresses themselves in the performance they create.

The concept of performance art in society becomes commonplace in the community contributing to political or ethical reactions. The performance art bloomed from the need to free human beings from mental slavery bestowed to humans by religion, culture, tradition, capitalism, and consumerism(Pagnes). The concept glooms a lively alliance, which makes people lose partnership with the spirit or abstract idea of people. When an artist decides to address a political issue, the artist enquires the ethical responsibility that an artist needs to maintain to earn respect from the audience.

The concept of art constitutes every aspect of life. The artwork represents more than fiction detailing the potential of a revolution of values that advocates for equality. There exists a dire need to incorporate the concept of politics of the body with art as a liberating tool and generating mind-changing experiences. The presence of art creates more room for the artist and the audience that makes it more compelling and useful as a tool of liberation(Pagnes). The architecture comprises of freedom and by merging politics and life for optimistic leaders who believe in the future. Artwork bridges the difference between life and performance, which adds aesthetic to inno...