Slovak and Czech Performance Art from the 1960s to the Present

20 世纪 60 年代至今的斯洛伐克和捷克表演艺术

• 批准号: 2389441
• 金额: --
• 依托单位: Queen Mary University of London
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2020
• 资助国家: 英国
• 起止时间: 2020 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2389441
• 关键词: Slovak; Czech; Performance; Art; 1960s

After Czechoslovakia's dissolution in 1993, Czech and Slovak artists have been struggling to assert their national identities as distinct in wider performance art histories. This project seeks to investigate the development of Slovak and Czech performance art from the 1960s to the present as two arguably distinct yet complementary genealogies. Despite growing research into Eastern and Central European histories of performance art in recent years, there has been little substantial work in terms of Czech and Slovak performance art, and what little research has been undertaken tends to conflate them into a single national culture. While these two countries have a strong social and cultural affinity historically, there has also been an increasing anxiety among artists since the Velvet Divorce (the peaceful dissolution of Czechoslovakia) in 1993 about who owns the cultural remnants and artefacts of the two countries. The conflation of the countries seems to privilege Czechia (formerly the Czech Republic) over Slovakia and has incidentally had a reductive effect on the way Slovak art in particular has been researched internationally. As historian Mark Stolárik points out, one of the key reasons for the Velvet Divorce was precisely the lack of a homogenous Czechoslovak identity and, therefore, the continuous conflation of Czechoslovak art contingent on national identity is reductive. I seek to show that Slovak performance art has been influenced by Hungarian traditions and focuses predominantly on music-based performance, happenings, and land art. On the other hand, Czech performance art focuses on action art, interventions and body art traditions. Moreover, the growing tensions caused by the current rise of Far-Right politics and xenophobic migration anxiety in both countries have prevented artistic and scholarly focus on what have historically been some of the key issues of performance art in Wester Europe (such as queer and identity politics). The proposed doctoral research will intervene in this complex political situation by analysing a series of case studies from both Slovakia and Czechia in order to disentangle their national identities and establish their genealogies as distinct within wider performance art histories. My project will rely on analysis of primary and secondary sources, archival research, translation, qualitative research interviewing, and with methods concerning close textual and historical analysis of performance documents and events. My language abilities in Czech and Slovak put me in a unique position to undertake primary research that would otherwise remain inaccessible to Anglophone scholarship. Part of this translation-focused effort will also focus on the way artists talk about themselves in their native languages, the critical reception of their work, and the effects with which English critical vocabularies (especially the adopted word 'performance') is often appropriated, adapted and deployed in the two countries. I will undertake extensive primary research in artists' archives. These mostly exist without institutional support in the homes of artists - such as Tomás Ruller or Sláva Daubnerová. In some rare cases, they are held at organizations such as Julius Koller Society. Archival research constitutes a major source of research in performance art studies and is deployed by performance art historians such as Heike Roms and Dominic Johnson. Moreover, the particular political history of Czechoslovakia under the USSR as well as performance art's resistance to documentation requires performance art to be disseminated by oral traditions. As well as visiting artists' archive, I will interview artists, arts professionals and audiences to re-construct knowledge that has otherwise been lost.

1993 年捷克斯洛伐克解体后​​，捷克和斯洛伐克艺术家一直在努力在更广泛的行为艺术史上维护自己独特的民族身份。该项目旨在调查斯洛伐克和捷克行为艺术从 20 世纪 60 年代至今的发展，将其视为两个有争议的截然不同的领域。尽管近年来对东欧和中欧表演艺术史的研究不断增多，但对捷克和斯洛伐克表演艺术的实质性研究却很少，而且研究的趋势也很少。尽管这两个国家在历史上具有很强的社会和文化亲和力，但自 1993 年天鹅绒离婚（捷克斯洛伐克和平解体）以来，艺术家们对谁拥有文化遗迹的焦虑日益增加。两国的合并似乎使捷克（以前的捷克共和国）相对于斯洛伐克享有特权，并且顺便对斯洛伐克的艺术方式产生了削弱作用。正如历史学家马克·斯托拉里克（Mark Stolárik）所指出的，天鹅绒离婚的关键原因之一正是缺乏同质的捷克斯洛伐克身份，因此，捷克斯洛伐克艺术与民族身份的不断融合是还原性的。试图表明斯洛伐克的表演艺术受到了匈牙利传统的影响，主要侧重于基于音乐的表演、事件和大地艺术，而捷克的表演艺术则侧重于动作艺术、干预和身体艺术。此外，目前两国极右政治的崛起和仇外移民焦虑造成的紧张局势日益加剧，阻碍了艺术和学术界对西欧表演艺术历史上的一些关键问题（例如酷儿和身份）的关注。拟议的博士研究将通过分析斯洛伐克和捷克的一系列案例研究来介入这一复杂的政治局势，以理清他们的民族身份，并在更广泛的行为艺术史上建立独特的谱系。项目将依赖于对主要和次要来源的分析、档案研究、翻译、定性研究访谈，以及对表演文件和事件进行仔细的文本和历史分析的方法，我的捷克语和斯洛伐克语能力使我处于独特的位置。这项以翻译为重点的研究工作的一部分还将集中于艺术家用母语谈论自己的方式、他们作品的批评接受以及英语批评词汇的影响。采用的词我将对艺术家的档案进行广泛的初步研究，例如托马斯·鲁尔（Tomás Ruler）或斯拉瓦·道布内罗夫（Sláva Daubnerová）的一些罕见作品。档案研究是表演艺术研究的主要来源，并被海克·罗姆斯和多米尼克·约翰逊等表演艺术历史学家所采用。苏联统治下的捷克斯洛伐克以及行为艺术对记录的抵制要求行为艺术通过口头传统来传播。除了参观艺术家的档案之外，我还将采访艺术家、艺术专业人士和观众，以重建已经丢失的知识。