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dc.contributor.authorSenior, A.*
dc.contributor.authorKelly, Simon*
dc.date.accessioned2016-05-31T09:08:28Z
dc.date.available2016-05-31T09:08:28Z
dc.date.issued2016-06
dc.identifier.citationSenior A and Kelly S (2016) On the Dialectics of Charisma in Marina Abramović’s The Artist is Present. Performance Research. 21(3): 74-83.en_US
dc.identifier.urihttp://hdl.handle.net/10454/8420
dc.descriptionYesen_US
dc.description.abstractWhile ‘charisma’ can be found in dramatic and theatrical parlance, the term enjoys only minimal critical attention in theatre and performance studies, with scholarly work on presence and actor training methods taking the lead in defining charisma’s supposed ‘undefinable’ quality. Within this context, the article examines the appearance of the term ‘charismatic space’ in relation to Marina Abramović’s retrospective The Artist is Present at New York’s Museum of Modern Art in 2010. Here Abramović uses this term to describe the shared space in which performer and spectator connect bodily, psychically, and spiritually through a shared sense of presence and energy in the moment of performance. Yet this is a space arguably constituted through a number of dialectical tensions and contradictions which, in dialogue with existing theatre scholarship on charisma, can be further understood by drawing on insights into charismatic leaders and charismatic authority in leadership studies. By examining the performance and its documentary traces in terms of dialectics we consider the political and ethical implications for how we think about power relations between artist/spectator in a neoliberal, market-driven art context. Here an alternative approach to conceiving of and facilitating a charismatic space is proposed which instead foregrounds what Bracha L. Ettinger calls a ‘matrixial encounter-event’: A relation of coexistence and compassion rather than dominance of self over other; performer over spectator; leader over follower. By illustrating the dialectical tensions in The Artist is Present, we consider the potential of the charismatic space not as generated through the seductive power or charm of an individual whose authority is tied to his/her ‘presence’, but as something co-produced within an ethical and relational space of trans-subjectivity.en_US
dc.language.isoenen_US
dc.relation.isreferencedbyhttp://dx.doi.org/10.1080/13528165.2016.1176740en_US
dc.rights© 2016 Taylor & Francis. This is an Author's Original Manuscript of an article published by Taylor & Francis in Performance Research on June 2016 available online at http://www.tandfonline.com/10.1080/13528165.2016.1176740en_US
dc.subjectCharisma; Dialectics; Leadership; Marina Abramović; Matrixial; Performance; Theatreen_US
dc.titleOn the Dialectics of Charisma in Marina Abramović’s 'The Artist is Present'en_US
dc.status.refereedYesen_US
dc.date.Accepted2016-04
dc.typeArticleen_US
dc.type.versionAccepted manuscripten_US
refterms.dateFOA2017-12-20T00:00:00Z


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