Fazer fazendo: as partituras de performance vistas a partir do processo criativo de artistas colombianos

Abstract

In this dissertation talks about the fundamental concepts and historical bases of the emergence of performance in contemporary art, as well as to build, along with this historical foundation, the bases of the performance score concept with which we work. In this context, in 1952, a work by John Cage proved to be crucial for the understanding of performance as a language in art as well as for the concept performance sheet presented here. Performance is a living art, in which the audience has a great importance, and the artist can decide whether the performance is open or closed. I define new theoretical concepts for performance, taking into account being an open or closed work. Examples of some scores used by artists to create their performances, their works and their poetics are also exhibited. Finally, the chapter presents the work of three Colombian performers, whose study of creative processes makes it possible to perceive the manifestation of these two approaches to the public (open and closed work). To do so, I will use the contemporary authors Tina Pit, Maria Teresa Híncapie and Diego Paris, and then find similar relationships in their scores and their poetics, soon to find similar poetic relationships in the scores. Finally, the author's performance is analyzed through the scores and discusses the hypotheses of the planned scores for the performance and espoe musical scores worked in the artistic career. A reflection of the work is done, also brought up questions that were left out and raises future researches in the area of performance scores