AMP41418 Performativity 2: Audience (Spring 2021)

• will gain expanded critical and theoretical awareness of known perception modes and conventions of performative spaces such as proscenium stage, black box, white cube, museum, lecture space etc., including the role of public space in art processes.
• will gain expanded critical and theoretical awareness of how terms like audience, public, and perception are defined in different discourses and can apply that awareness to their own artistic process.
• will have competence in analyzing and engaging with discourses on how performative practices create, intervene in and rely on their audiences and contexts.
• will have knowledge in critically reflecting and evaluating their own artistic work within different contexts, set their own methods for projects in relation to concepts of space and audience.

Delivery of a lecture during the internal seminar outlining their Master project where they reformulate their research questions, proposed working methods, reflections on dramaturgical, territorial, and audience related questions connected to their practice. The lecture should reflect research conducted in the course: i.e. archival materials including written texts, images, bibliographic references, and other reflections of the students' study both practically and theoretically. Students should decide on the space/ venue for the first phase of their Master Project and start the according planning.

An attendance of minimum 80 % is required.

Verbal examination
Duration: 20-30 minutes individual examination plus plenum discussion.

Assessment of student achievement of course's learning outcomes is accomplished by conclusion of the semester by structured discussion between the student, the student's advisor and one employee lecturer, based on the lecture during the internal seminar.

Uses verbal feedback. Uses the grade pass / fail.

Failure to pass the exam in one or more courses will only be given one new exam attempt. New examination paper is formulated by programme coordinator in collaboration with the student's supervisor during the course of the semester's 3rd last week.

In continuation assessment, the programme coordinator must in addition to supervisor and staff teacher, who normally assess the student, appoint one additional employee teacher to this sensor array.

The programme coordinator, head of study and student must sign that new exam paper is announced and received.

A new course evaluation (continuation assessment) takes place during the last week of the semester.

The reading list is last updated October 23th, 2019.

References to current literature, video material, websites , staged productions and exhibitions, art catalogs, film, music, art, dance and theater criticism in the media and other relevant references are supplied in part by the Programme Coordinator and are partly the responsibility of the student to research independently under tutoring. During the 2nd semester the individual bibliography is further developed towards submission of critical text at the end of this semester.

Recommended literature:

-        Arendt, H. (1996) Vita Activa, Det virksomme liv. Oslo: Pax Forlag.

-        Bishop, C. (2012) Artificial Hells, Participatory Art and The Politics of Spectatorship. London and New York: Verso.

-        Butler, J. (2015) Notes Toward a Performative Theory of Assembly, Harvard University Press.

-        Geheimagentur, (2011) The Art of being Many. Performance Research: A journal of the Performing Arts.16: 3, pp. 36-42

-        Lingis, A. (1994) The Community of Those Who Have Nothing In Common. Bloomington: Indiana University Press.

-        Nancy, J-L. (2000) Being Singular Plural. Stanford: Stanford University Press.

-        Ranciére, J. (2009) The Emancipated Spectator. London and New York: Verso.

-        Van Eikels, K. (2011) What Parts of Us Can do With Parts of Each Other (and When), Some Parts of This Text. Performance Research, Issue 3.