Enacting play: performance within the public domain
Date
2009-03-30T12:36:24Z
Authors
Moys, Anthea Julian Dineo
Journal Title
Journal ISSN
Volume Title
Publisher
Abstract
ABSTRACT
In this thesis I explore play as enacted in certain forms of performance art presented in
the public sphere. I take as my premise the notion that play is a primary form of
creativity fundamental to the healthy development of ‘the self’ and community. I draw on
the theories of Donald Winnicott (1971) and Johan Huizinga (1970) to explore the
historical sources of play theory and connect these to contemporary play concepts
articulated by Pat Kane (2004) et al. I argue for the relevance of play (theory and
enactment) to contemporary performance art, specifically the type that emphasizes the
action of the performance as meaningful over its material documentation. Such
performance questions frameworks of visual art and its objects. International artists,
Tino Sehgal and Gustavo Artigas, epitomize this type of performance and I discuss their
work accordingly. Their practice entails taking up a different subject position to the
conventional role of artist in that they direct their performances rather than enact them;
they orchestrate others in their interventions. Many of their performances seem
pointless and irrational but they use these concepts to address the growing alienation of
the postmodern subject by challenging economic and cultural values of ‘the west’ that
are antithetical to the values of play. By drawing on the theories of play and exploring
the work of the abovementioned artists in relation to instances of performance art in a
local (South African) context, I aim to open a space for articulating the relevance of play
to a local situation which has, because of its history, arguably not had the chance to
play. I refer to my own artistic practice in this context.