Abstract
The purpose of this article is to introduce a communication model for analysis of interactive performances, specifically focusing on the aesthetic dimension. The theoretical framework for the model will be described, and its implementation will be demonstrated through an analysis of Salò, a performance installation that was performed in Denmark in the spring of 2010. In the Danish media, Salò was described as one of the most controversial theatrical performances in Denmark in recent years. According to an unpublished audience survey, which was presented in a seminar held at the theatre REPUBLIQUE on April 9, 2010, and conducted by a research group from the University of Copenhagen’s Department of Theatre and Performing Arts, Salò’s audience could be roughly divided into two groups.
The first group was strongly offended by the performance and considered Salò to be highly unethical and immoral, challenging the boundaries of what should be performed at an established theatre in Denmark. The ethical issues in question were focusing on the hardcore violence, which the audience was exposed to during the performance. The main critique was based on the fact that the disturbing scenes during the performance mentally broke down some members of the audience and it was criticized that SIGNA didn’t pick up on the psychological consequences that some of the audiences were marked by after the performance.
For the second group, however, Salò was a tremendous experience; some people in this group viewed Salò as one of the most significant artistic performances shown in a Danish context in many years. With a point of departure in Salò this article will illustrate how the communication model can be used as a starting point for an analysis of how and to which degree the sender’s intentions to communicating feelings and values correspond to the receiver’s actual experience of the communication. In addition the analysis of Salò will include discussions on the aesthetic dimension in order to contribute with new insights to the existing research, which primarily has been focusing on the ethical issues regarding this performance installation.
The first group was strongly offended by the performance and considered Salò to be highly unethical and immoral, challenging the boundaries of what should be performed at an established theatre in Denmark. The ethical issues in question were focusing on the hardcore violence, which the audience was exposed to during the performance. The main critique was based on the fact that the disturbing scenes during the performance mentally broke down some members of the audience and it was criticized that SIGNA didn’t pick up on the psychological consequences that some of the audiences were marked by after the performance.
For the second group, however, Salò was a tremendous experience; some people in this group viewed Salò as one of the most significant artistic performances shown in a Danish context in many years. With a point of departure in Salò this article will illustrate how the communication model can be used as a starting point for an analysis of how and to which degree the sender’s intentions to communicating feelings and values correspond to the receiver’s actual experience of the communication. In addition the analysis of Salò will include discussions on the aesthetic dimension in order to contribute with new insights to the existing research, which primarily has been focusing on the ethical issues regarding this performance installation.
Bidragets oversatte titel | Salò - en sublim oplevelse: E Analyse af interaktive performances med særligt henblik på den æstetiske dimension |
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Originalsprog | Engelsk |
Titel | Engaging Spaces : Sites of Performance, Interaction and Reflection |
Redaktører | Erik Kristiansen, Olav harsløf |
Antal sider | 44 |
Udgivelsessted | København |
Forlag | Museum Tusculanum |
Publikationsdato | nov. 2015 |
Sider | 84-127 |
Kapitel | 3 |
ISBN (Trykt) | 9788763542005 |
Status | Udgivet - nov. 2015 |
Emneord
- Visual analysis
- Aesthetics
- Performance Design