On the art-performance nature
Contemporary music art is characterised by its particular focus on theatricality. A bright phenomenon that provides academic performing arts with vitality has become performance. In the 1960s, the actualisation of performing forms with their deep historical roots achieved such a level that it became possible to determine the formation of a new cultural tendency covering almost every kind of creative activity and affecting different arts, traditional genres and forms included. The author claims that the music performance phenomenon cannot be perceived beyond the general cultural and scientific context as performance and performativity are not inherently artistic phenomena. Their nature can be fully perceived at the intersection of other sciences only, such as sociology, psychology, philosophy, cultural studies, communication theory, art history. Based on an analysis of contemporary sociological theories, the author tries to explain the intense introduction of performativity into arts. The “ritual – interactive ritual – performance” triad is the key point for the concept of the article. Having analysed the general and particular features shared by its components, the author manages to explain some key points of the art-performance nature. Based on the etymology of the word, performance is determined as a special way of presenting some artistic information to the audience. Considering a processual character of the phenomenon, the performance features are examined in respect to an interaction between its participants and the event as it is. The author also points out the reverse relationship of performance with such social and cultural practices as art flesh-mob and festive performing acts as well as the performance influence on the traditional music genres.
contemporary music art, music performance, social performative practices, ritual, interactive ritual.
Krylova A. On the art-performance nature // South-Russian musical anthology. 2020. No 1. Pp. 27–35.