"(...) as with museums, theaters and especially contemporary performance festivals have over the last two decades been increasingly faced with artists whose works challenge conventional disciplinary uses and modes of display. For example, staging durational works for an audience that can come and go as they please (like in the museum), or works that take over the entire building (as opposed to just the stage), or that perform for one audience member at a time, and that as such, challenge conventional frameworks and production processes. Performing arts institutions have sometimes hired curators from the visual art world; contemporary performance festivals, too, have experimented with this rapprochment between the visual and performing arts.
Museums, galleries, and performing arts spaces, as well as theater festivals and biennales, have therefore been faced with the reality of having to rethink not just what they show or present, but how they present it. In light of these transformating aesthetic and cross-disciplinary developments that have been brewing ovre the last two decades, (re)defining the experience of art, we see dramaturgy and curating as the two institutional-creative practices that bridge this trend. (...) -- P. 2.
Comprend des notes bibliographiques à la fin des chapitres.
Comprend un index.
[-]"(...) as with museums, theaters and especially contemporary performance festivals have over the last two decades been increasingly faced with artists whose works challenge conventional disciplinary uses and modes of display. For example, staging durational works for an audience that can come and go as they please (like in the museum), or works that take over the entire building (as opposed to just the stage), or that perform for one audience ...
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