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Remdamasis Erikos Fischer-Lichte performatyvumo skirstymu į buvimo ir reprezentacijos paradigmas, aptariu joms būdingas žvilgsnio, žiūrėjimo principų ypatybes. Manau, kad performansai, kuriuose menininkas susitelkia į buvimo emergencijos kūrimą, atveria kitokius žiūrėjimo principus nei reprezentaciniam, teatriniam vaidinimui įprastas žiūrėjimo supratimas. Kalbėdamas apie savo performanso praktiką, konkrečiais atvejais iliustruoju tris žiūrėjimo tipus: badaujantį žvilgsnį, uždengtą žvilgsnį ir nematymą. Straipsnyje aptariu Martino Seelo pasirodymo (Appearing) koncepciją ir Davido Morgano švento žvilgsnio (Sacred gaze) kategoriją. Straipsnio tikslas – kritiškai įvertinti žiūrėjimo praktikų galimybes šiuolaikiniame performanse. Referring to Erika Fischer-Lichte’s distinction of the paradigms of presence and representation in performativity, the author discusses the features of the principles of the gaze and viewing characteristic of these paradigms. In his opinion, those performances in which the artist focuses on creating the emergence of presence, allows for other viewing principles than those typical of a representational theatrical performance. For that purpose, he suggests inventing a means of viewing that would allow experiencing the invisible energy levels of a performance, and the meanings in which the signifier, the signified and materiality are not yet dissociated from one another. The author aims to explain the multi-layered character of “a sacred gaze”: a complex and complicated viewing determined by the relation between the mind and the soul, the subject and the object. A sacred gaze allows us to experience being viewed by the Other, and embodies sacredness thanks to the viewing itself rather than the image. The quality of the viewing rather than the image allows a material shape to become a prototype, and enables a material body to transform itself into a represented object. The sacred gaze is a practice fostered by culture and prompted by knowledge: to see is to know what you see. Talking about his performance practice, the author illustrates with concrete cases three types of viewing: a hungry look, a covert look and non-seeing. He also discusses Martin Seel’s conception of appearing and David Morgan’s category of a sacred gaze. The aim of the article is a critical assessment of the possibilities of viewing practices in a contemporary performance, and offering alternatives for viewing based exclusively on the visible image.

Performatyvumą Lietuvos šiuolaikiniame mene tyrinėjanti dailės istorikė Alberta Vengrytė apibūdina performatyvaus atlikimo teorines ištakas (XX a. 5–6 deš.), performatyvumą charakterizuojančių idėjų raidą nuo XX a. antrosios pusės iki mūsų dienų, reikšmines XXI a. performanso meno transformacijas, kurios straipsnyje aktualizuojamos „atminties“, „laiko“, „dokumentalumo“ bei „medializacijos“ teoriniuose sanduose. Autorė apibendrina svarbiausių XX–XXI a. atlikimo menų bei medijų tyrinėtojų ir savo pačios akademines įžvalgas, susijusias su gyvo (angl. live) atlikimo medializacija, apibrėžia „virtualaus“ laiko dėmens atsiradimą naujųjų performanso praktikų sandar oje, kontekstualizuoja šiuos pokyčius „kultūros kaip teksto“, „kultūros kaip performanso“ bei „atliekamo laiko“ metaforų kontekste. Alberta Vengrytė, an art historian who explor es performances in Lithuanian contemporary art, describes the theoretical roots of the performance (c. 1940–1950), the development of concepts surrounding performances from the second half of the 20th century until the present day, and the transformations of some theoretical components in the art of performance of the 21st century , such as ‘memory’, ‘time’, ‘documentality’ and ‘medialisation’. The author summarises the academic points raised by some of the most important researchers of the media and the performing arts of the last century, in addition to herself, that are to do with the medialisation of live performance. She also identifies the emergence of the ‘virtual’ time component in the complex of new practices of performance, and contextualises these changes in the contexts of ‘culture as text’, ‘culture as performance’ and ‘performed time’ metaphors.

The concept of time-image (image temps) coined by Gilles Deleuze could be applied to analysis of works of art that juxtapose objects from different periods of time and combine them into spatial installation-projects. Such exhibitions are designed for the visitor to create their final and ideal version, and have to be "performed". This leads to the obliteration of clear concepts as well as to the process of self-creation. Agnė Narušytė uses the concept of time-image as well as Erika Fischer-Lichte’s theory of performative aesthetics in her phenomenological analysis of the exhibition "Parents’ Room", which was installed by the Lithuanian contemporary artist Aurelija Maknytė at the gallery Artifex in 2015. In "Parents’ Room", Maknytė created layers of different periods and places as experienced by different people: a tailor who wrote letters to her daughter from 1965 to 1990, Maknytė’s parents, already dead, and herself in two roles: that of a daughter and of a step-mother. The artist does not mask the separateness of the layers; she even reveals the sources: fragments of a family’s life, printed materials she collects, artefacts made for different purposes (soviet folded tables for celebrations, shoes for funerals, a sewing machine, sewing patterns cut from soviet newspapers), her own works (an artist’s book compiling the tailor’s letters, "Father’s Act" created in 2001 from her father’s autopsy report and "The Role" – an appropriated film by Rūta Šimkaitienė, "The Gardener goes to the Cemetery" (1992) where Maknytė played a step-mother). Both comic and macabre, the stories of other people’s lives are condensed in the exhibits installed in the three spaces of the gallery. Like in multiple exposure photographs, the exhibition connects realities that "have no clue" about each other but are interlinked through accidental coincidences, invisible to them, but planned by The viewer becomes an all-seeing privileged connoisseur from the "future" who gets also involved into the exhibition’s narrative, thus forming an additional layer. The viewer who walks around the exhibition and sees, hears as well as feels its elements one by one links them to each other and deciphers different flows of time in this Deleuzian time-image (image temps). Therefore, this actual viewer performs the exhibition and creates herself, and through her, exhibition is created (actualized) as well. Although Maknytė has planned the audience’s movements and responses, it is impossible to envision the final result, which is characteristic of performative acts. Thus, Narušytė’s walk through the exhibition, while carrying out an experiment of phenomenological investigation of lived experience, should be also considered as part of the exhibition creating itself and her own self as becoming.

This contribution analyzes the interactive art project Die Kinderbank as it was displayed by the German Forschungstheater at Horsens Art Museum under the Danish title Børnebanken in February 2017. Børnebanken is analyzed as aesthetical art work as well as norm-critical experiment. The first, because the concept and scenography of Børnebanken can be seen as illustrative for idealistic conceptions of children, money, and trade. And the second, because Børnebanken with its interactive format is a potentially ‘uncontrollable’ work, which might lead to interesting clashes between the ideological point of departure and the practical reality. Clashes, which can be used to discuss, how we – in a relatively wealthy Western context – see ourselves as participants in a society of trading and comsuming, and not least how we imagine the role of our children in this society. My analysis addresses, how Forschungstheater in their set-up points towards a Marxist-socialist critique of capitalism as illustrated by Bertolt Brecht as well as a more complex concept of money as a concrete, society-constituting and -consolidating symbol as described by Viviana A. Zelizer. It also discusses how Børnebanken as an example of Nicolas Bourriaud’s concept of Relational Aesthetics is a work beyond our control. On that note, I ask the question of to what extend the discussions of money as societal phenomenon reach the primary target group: the children. My point is that the reactions of the children on the set-up of Børnebanken might point toward a critical consumer-behaviour rather than a norm-less curiousity.

Straipsnyje keliama naujų scenos meno realijų įvardijimo problema. Naujiems žanrams, teorijoms ar refleksijoms reikalingas kitoks žodynas, kuris lengviau funkcionuotų kitoje kalbinėje terpėje. Apžvelgiamos terminų vertimo problemos, analizuojamas tam tikrų atitikmenų pasirinkimas, išsamiau aptariamas „immersive theatre“ terminas ir siūlomi jo variantai. The article deals with uprising theatre realities and new terms they bring. Every new form brings another world to which theoreticians and practitioners have to give a name. Names raise questions about a possibility to function in another language, and the vitality of new reality depends on appropriate translation or transformation of a term. During the translation process of Erika Fischer- Lichte’s book "The Transformative Power of Performance", a question arose about the terms Aufführung, Präsenz. We witness new forms and terms of performing arts appearing during last decades – devised, collaborative, participatory theatre, and recently one of the most intriguing is immersive theatre. Theoreticians agree that the term of the latter is problematic because it is more a metaphor than a defining term. By analysing essential features of the performances attributed to that form of theatre, the author pays attention to participation of the audience as a main core of the event and human contact. Therefore, he suggests the idea of using a more accurate term like theatre of (direct) experience, direct experience theatre or similar variations stressing real live(d) experience.

Mestrado em Performance Artística/Dança Este trabalho está centrado no conceito de ritual, enquanto edificador de comunidade, e na sua relação com a performance artística contemporânea. O carácter transformador da criação performativa e, em especial, no que respeita aos aspectos que compõem a performance contemporânea, é aqui analisado, essencialmente sob as perspectivas dos teóricos fundamentais para os actuais Estudos da Performance – Richard Schechner e Erika Fischer-Lichte. De salientar ainda a perspectiva ritualista que é atribuída a alguns criadores e como isso interfere na recepção das suas criações, numa visão comunitária. São analisados quatro artistas internacionais essenciais na História da Performance, no século XX – Grotowski, Hermann Nitsch, Marina Abramovic e Guillermo Gomez-Peña – e um foco especial no caso português da coreógrafa Madalena Victorino, pelo seu contributo para a performance em Portugal, em especial para a dança, e pelo carácter comunitário das suas criações.

Prikaz knjige Erike Fischer-Lichte, Estetika performativne umjetnosti, s njemačkoga preveo Sulejman Bosto, Sarajevo – Zagreb, Šahinpašić, 2009.