Marina Abramovic was born in Yugoslavia in 1946. In the early 1970’s she pursued Fine Art in Belgrade where she established the importance and use of performance as a visual art. Marina considered body as being her medium and subject. Having found the mental limits of her existence, she bore severe pain and danger in the search for emotional transformation. Marina’s work is more typical rather than traditional. It avoided artwork such as paint and canvas; however the aim was to eradicate the distance
Lily Bart’s Tragic Oscillation in The House of Mirth In his article “Disowning ‘Personality’: Privacy and Subjectivity in The House of Mirth,” William Moddelmog explains that the interaction between Selden and Lily in Selden’s apartment the second time captures “the novel’s drama of subjectivity” (337) This drama exists at the core of Edith Wharton’s novel of upper-class manners and social morality, where a conflicted protagonist presents an amicable appearance in spite of her complex internal
portrait of an artist, a rebel--and a man in love. He makes effective use of bold imagery: a snake on a basket, shadows on a wall and any scene that brings Caravaggio's paintings to life, and uses sound to suggest grander surroundings. The first Tableau vivant is ‘Baccus’ (1595) posed by Dexter Fletcher in his first scene as the youthful Caravaggio, Sean Bean character Renuccio is introduced at the same time as Gary Cooper who plays Davide, both actors at the beginning of their careers, The masters
In Bernardino Pinturicchio’s The Annunciation the frequently depicted biblical scene is rendered in a remarkably realistic setting. It is set as if we’re looking through the rounded arch in the foreground straight into the realm of angels and the Virgin Mary herself. In fact, the entire composition suggests an instant of time caught glancing through a window. The painting as a whole is more realistic than many previous Annunciation scenes, which brings the divine closer to our realm and down to the
The thematic content in the above passage is very representative of the overall short story A Rose for Emily. The passage describes the scene of Miss. Emily Griersons funeral. Emily has a unique relationship with the townsfolk of Jefferson. She is both pitied and admired. Emily disconnects herself from the outside world as she attempts to hang on to her past while denying the present. The men and women of the town gather at her funeral, and are reminded of the tragic life of Emily. Much like the
Sacred and Profane, T. Venkanna, represented by Gallery Maskara, did a performance work in the nude, where he sat behind a black curtain, with a Frida Kahlo reproduction in the background, and where visitors could take a picture with him as a tableau vivant version of the painting. The intent of the artwork was to 'removing the trappings of identity', by posing naked, and holding the hands of the visitors in front of a replica of Mexican artist Frida Kahlo's The Two Fridas. Many found this work to
Feminism, the idea of women’s rights, and gender roles have been and still are a {} part of modern society. Nights at the Circus, by Angela Carter and originally published in 1984, makes plenty of arguments regarding the ideas and theories behind different types of feminism. In fact, it is impossible to talk about Angela Carter’s novel Nights at the Circus without discussing feminism as well. Angela Carter’s Nights at the Circus explores the importance of finding and asserting one’s true self, especially
"Literary people have long been studying and teaching plays as if they were meant to be read rather than performed." "A central part of a play's meaning is the way it was originally designed to work on stage." William Shakespeare's Hamlet and Sophocles Oedipus the King have long been included on academic lists for scholarly study as literary texts. As someone who has studied both texts in just the manner Hornby mentions, I would suggest that what is lost when a scholar treats a play text as
Evolution or Revolution? Recurring themes, ideas and conventions in the dramas of Ibsen, O'Neill and Shepard. Throughout the history of drama, playwrights have appropriated the ideas of their predecessors for their own use, sometimes building on them and making the idea their own. American drama is no exception. American drama has its roots firmly entrenched in modern European drama, this is illustrated through the influence of Norwegian playwright Henrik Ibsen on American playwright Eugene O'Neill