Renida Baltrušaitytė - Academia.edu (original) (raw)
Uploads
Papers by Renida Baltrušaitytė
Bookmarks Related papers MentionsView impact
The artistic field faces some difficulties in conceptualizing performance art. The definitions of... more The artistic field faces some difficulties in conceptualizing performance art. The definitions of “performance” and “performativity” are widely used in different arts, but these concepts have also become an important part of sociological, philosophical and other social sciences and humanities discourse. However, there exist distinctions in the usage of these concepts in different academic traditions and even different languages. Because of the polysemantic nature of the concept of performance, differences and similarities in the definitions of performance, performativity, performance art could also be clearly articulated. The article argues that during the last decade performance art is returned to public cultural discourse. Every year several performance art festivals take place in Lithuania, and many young Lithuanian artists study performance art abroad and participate in educational workshops. Despite all of this, both artists and researchers encounter difficulties and uncertaint...
Bookmarks Related papers MentionsView impact
Performanso meno laukas kartu su vizualiųjų menų lauku Lietuvoje patiria itin didelę atskirtį, ne... more Performanso meno laukas kartu su vizualiųjų menų lauku Lietuvoje patiria itin didelę atskirtį, nes yra subordinuotas tiek meno, tiek kitų laukų atžvilgiu. Neretai performanso menas apskritai nėra laikomas meninio diskurso dalimi. Galima manyti, kad tai vyksta dėl performanso meno apibrėžimo nesklandumų. Nors sąvokos „performansas“ ir „performatyvumas“ vartojamos skirtinguose menuose, svarbu nepamiršti, kad jos taip pat plačiai diskutuojamos ir sociologijoje, filosofijoje bei kitose disciplinose. Analizuojant mokslinę literatūrą ir įvairius šaltinius, ima ryškėti šių sąvokų konceptualizavimo skirtumai ir panašumai bei jų vartojimo ypatybės. Šiame darbe siekiama išsiaiškinti, kokiais bruožais pasižymi performanso menininkių kūniškasis hexis. Remiantis P. Bourdieu teorinėmis prieigomis, pastaroji koncepcija išryškėja analizuojant santykį tarp performanso meno lauko ir šios meno srities menininkių habitus. Tyrimo problema. Mokslinių šaltinių analizė parodo, kad performanso menas nėra ty...
Bookmarks Related papers MentionsView impact
THE STORY OF SUCCESS. Contemporary Circus Festival Cirkuliacija in 2020 during the COVID-19 Pandemic, 2021
“Cirkuliacija” is an educational and international contemporary circus festival that grows bigger... more “Cirkuliacija” is an educational and international contemporary circus festival that grows bigger since 2015 and attracts new and various audiences with each year. The main goal of the festival is to introduce contemporary circus to more people and to show its subtle and unique language by letting to experience its educational and social capabilities. The specificity of this festival is to bring the contemporary circus to spaces that are in a distance with the city centre and by this to enable abandoned buildings and spaces with contemporary culture and communal activities. Moreover, this annual festival is lasting for two weeks during summertime.
But. The summer of 2020 was different for the whole world. Lithuania acquainted quarantine and the challenges which it brought to the culture sector. However, the quarantine started in March of 2020, but the festival needed to be organized in June. During March, there was no way to know what is going to happen and what kind of requirements from the government will need to be fulfilled after several months. Nevertheless, organisers decided to make a plan B and to change the festival schedule and form – everything that has already been decided in September of 2019.
This presentation will acquaint with the successful case of the possibilities for performing arts festival to adapt to the COVID-19 situation. The participants will be introduced to how it was successfully done, what were the negative and positive consequences and how all of this adaptation inspired the organizers to make permanent changes to the festival program.
Bookmarks Related papers MentionsView impact
Culture & Society, 2017
Bookmarks Related papers MentionsView impact
CULTURE AND SOCIETY. Journal of Social Research, 2020
The aim of this article is to discuss the bodies of circus artists in circus history. In order to... more The aim of this article is to discuss the bodies of circus artists in circus history. In order to highlight the significance of the circus artist’s body in the circus and its change, the article analyzes studies and literature on the history of the circus, circus definitions and differences between the body’s position in traditional and contemporary circus. Going deeper into the history of the circus, it can be seen that the position of the circus in society has almost always been unstable, and it has been both marginalized and considered as an art of the elite. As the circus is a very bodily form of art, the changing position of the circus in society has also influenced attitudes towards the body of the circus artist. Likewise, the bodies of circus performers were seen as strange, unacceptable, abnormal, or an ideal example to society. The object of the article is the change of the body of the circus artist in the historical development of the circus. The text also analyzes the problems of circus periodization, as it is often difficult for circus specialists to agree on circus periods and their differences. Nevertheless, a clear distinction can be observed between the traditional and the contemporary circus and the bodies in there. The body of the contemporary circus artist is paradoxically distinguished by virtuosity and human vulnerability, their body is constantly in a state of pain, risk, fear, or success and must be ready for change. In the contemporary circus, the bodies of artists are self-reflective; they, unlike in the traditional circus, are close to ambiguity and thus the contemporary circus becomes an opportunity for self-expression and social critique to manifest through the body.
Bookmarks Related papers MentionsView impact
KULTŪRA IR VISUOMENĖ. Socialinių tyrimų žurnalas. - CULTURE AND SOCIETY. Journal of Social Research., 2017
Santrauka. Meno lauke susiduriama su performanso meno apibrėžimo nesklandumais. Nors sąvokos „pe... more Santrauka.
Meno lauke susiduriama su performanso meno apibrėžimo nesklandumais. Nors
sąvokos „performansas“ ir „performatyvumas“ naudojamos skirtingose meno formose, svarbu nepamiršti,
kad jos taip pat plačiai diskutuojamos ir sociologijoje, filosofijoje bei kitose disciplinose.
Neretai dėl vertimo iš užsienio kalbos ar tos pačios sąvokos variacijų, vartojimo būdų skirtingose
disciplinose ar laikantis akademinių tradicijų susiduriama su „performanso“ sąvokos daugiareikšmiškumu.
Analizuojant mokslinę literatūrą ir įvairius šaltinius ima ryškėti ribos ar bent
kiek aiškesni „performanso“, „performatyvumo“ ir „performanso meno“ sąvokų konceptualizavimo
skirtumai ir panašumai bei šių sąvokų vartojimo ypatybės. Galima teigti, kad performanso
menas vėl tampa vis daugiau žinomas Lietuvoje. Ši meno sritis kuriam laikui buvo dingusi iš
Lietuvos viešojo diskurso, tačiau pastaraisiais metais aktyviai vyksta net keli performanso meno
festivaliai, daug jaunų lietuvių studijuoja performanso meną užsienyje ir dalyvauja šios meno
srities edukacinėse ir kūrybinėse dirbtuvėse. Nepaisant to, vis dar egzistuoja performanso meno
apibrėžimo neaiškumų. Pilotiniu performanso meno lauko tyrimu siekiama atskleisti šių konceptualių
neaiškumų ir nesutarimų preliminarias priežastis ir pasekmes.
Bookmarks Related papers MentionsView impact
Master thesis, 2017
Performanso meno laukas, kartu su vizualiųjų menų lauku, Lietuvoje patiria itin didelę atskirtį, ... more Performanso meno laukas, kartu su vizualiųjų menų lauku, Lietuvoje patiria itin didelę atskirtį, nes yra
subordinuotas tiek meno, tiek kitų laukų atţvilgiu. Neretai performanso menas, apskritai, nėra laikomas meninio
diskurso dalimi. Galima manyti, jog tai vyksta dėl performanso meno apibrėţimo nesklandumų. Nors sąvokos
„performansas“ ir „performatyvumas“ naudojamos skirtinguose menuose, svarbu nepamiršti, kad jos taip pat plačiai
diskutuojamos ir sociologijoje, filosofijoje bei kitose disciplinose. Analizuojant mokslinę literatūrą ir įvairius šaltinius,
ima ryškėti šių sąvokų konceptualizavimo skirtumai ir panašumai bei jų vartojimo ypatybės. Šiame darbe, siekiama
išsiaiškinti kokiais bruoţais pasiţymi performanso menininkių kūniškasis hexis. Remiantis P. Bourdieu teorinėmis
prieigomis, pastaroji koncepcija išryškėja analizuojant santykį tarp performanso meno lauko ir šios meno srities
menininkių habitus.
Bookmarks Related papers MentionsView impact
Šiaurės Atėnai - , 2017
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
The artistic field faces some difficulties in conceptualizing performance art. The definitions of... more The artistic field faces some difficulties in conceptualizing performance art. The definitions of “performance” and “performativity” are widely used in different arts, but these concepts have also become an important part of sociological, philosophical and other social sciences and humanities discourse. However, there exist distinctions in the usage of these concepts in different academic traditions and even different languages. Because of the polysemantic nature of the concept of performance, differences and similarities in the definitions of performance, performativity, performance art could also be clearly articulated. The article argues that during the last decade performance art is returned to public cultural discourse. Every year several performance art festivals take place in Lithuania, and many young Lithuanian artists study performance art abroad and participate in educational workshops. Despite all of this, both artists and researchers encounter difficulties and uncertaint...
Bookmarks Related papers MentionsView impact
Performanso meno laukas kartu su vizualiųjų menų lauku Lietuvoje patiria itin didelę atskirtį, ne... more Performanso meno laukas kartu su vizualiųjų menų lauku Lietuvoje patiria itin didelę atskirtį, nes yra subordinuotas tiek meno, tiek kitų laukų atžvilgiu. Neretai performanso menas apskritai nėra laikomas meninio diskurso dalimi. Galima manyti, kad tai vyksta dėl performanso meno apibrėžimo nesklandumų. Nors sąvokos „performansas“ ir „performatyvumas“ vartojamos skirtinguose menuose, svarbu nepamiršti, kad jos taip pat plačiai diskutuojamos ir sociologijoje, filosofijoje bei kitose disciplinose. Analizuojant mokslinę literatūrą ir įvairius šaltinius, ima ryškėti šių sąvokų konceptualizavimo skirtumai ir panašumai bei jų vartojimo ypatybės. Šiame darbe siekiama išsiaiškinti, kokiais bruožais pasižymi performanso menininkių kūniškasis hexis. Remiantis P. Bourdieu teorinėmis prieigomis, pastaroji koncepcija išryškėja analizuojant santykį tarp performanso meno lauko ir šios meno srities menininkių habitus. Tyrimo problema. Mokslinių šaltinių analizė parodo, kad performanso menas nėra ty...
Bookmarks Related papers MentionsView impact
THE STORY OF SUCCESS. Contemporary Circus Festival Cirkuliacija in 2020 during the COVID-19 Pandemic, 2021
“Cirkuliacija” is an educational and international contemporary circus festival that grows bigger... more “Cirkuliacija” is an educational and international contemporary circus festival that grows bigger since 2015 and attracts new and various audiences with each year. The main goal of the festival is to introduce contemporary circus to more people and to show its subtle and unique language by letting to experience its educational and social capabilities. The specificity of this festival is to bring the contemporary circus to spaces that are in a distance with the city centre and by this to enable abandoned buildings and spaces with contemporary culture and communal activities. Moreover, this annual festival is lasting for two weeks during summertime.
But. The summer of 2020 was different for the whole world. Lithuania acquainted quarantine and the challenges which it brought to the culture sector. However, the quarantine started in March of 2020, but the festival needed to be organized in June. During March, there was no way to know what is going to happen and what kind of requirements from the government will need to be fulfilled after several months. Nevertheless, organisers decided to make a plan B and to change the festival schedule and form – everything that has already been decided in September of 2019.
This presentation will acquaint with the successful case of the possibilities for performing arts festival to adapt to the COVID-19 situation. The participants will be introduced to how it was successfully done, what were the negative and positive consequences and how all of this adaptation inspired the organizers to make permanent changes to the festival program.
Bookmarks Related papers MentionsView impact
Culture & Society, 2017
Bookmarks Related papers MentionsView impact
CULTURE AND SOCIETY. Journal of Social Research, 2020
The aim of this article is to discuss the bodies of circus artists in circus history. In order to... more The aim of this article is to discuss the bodies of circus artists in circus history. In order to highlight the significance of the circus artist’s body in the circus and its change, the article analyzes studies and literature on the history of the circus, circus definitions and differences between the body’s position in traditional and contemporary circus. Going deeper into the history of the circus, it can be seen that the position of the circus in society has almost always been unstable, and it has been both marginalized and considered as an art of the elite. As the circus is a very bodily form of art, the changing position of the circus in society has also influenced attitudes towards the body of the circus artist. Likewise, the bodies of circus performers were seen as strange, unacceptable, abnormal, or an ideal example to society. The object of the article is the change of the body of the circus artist in the historical development of the circus. The text also analyzes the problems of circus periodization, as it is often difficult for circus specialists to agree on circus periods and their differences. Nevertheless, a clear distinction can be observed between the traditional and the contemporary circus and the bodies in there. The body of the contemporary circus artist is paradoxically distinguished by virtuosity and human vulnerability, their body is constantly in a state of pain, risk, fear, or success and must be ready for change. In the contemporary circus, the bodies of artists are self-reflective; they, unlike in the traditional circus, are close to ambiguity and thus the contemporary circus becomes an opportunity for self-expression and social critique to manifest through the body.
Bookmarks Related papers MentionsView impact
KULTŪRA IR VISUOMENĖ. Socialinių tyrimų žurnalas. - CULTURE AND SOCIETY. Journal of Social Research., 2017
Santrauka. Meno lauke susiduriama su performanso meno apibrėžimo nesklandumais. Nors sąvokos „pe... more Santrauka.
Meno lauke susiduriama su performanso meno apibrėžimo nesklandumais. Nors
sąvokos „performansas“ ir „performatyvumas“ naudojamos skirtingose meno formose, svarbu nepamiršti,
kad jos taip pat plačiai diskutuojamos ir sociologijoje, filosofijoje bei kitose disciplinose.
Neretai dėl vertimo iš užsienio kalbos ar tos pačios sąvokos variacijų, vartojimo būdų skirtingose
disciplinose ar laikantis akademinių tradicijų susiduriama su „performanso“ sąvokos daugiareikšmiškumu.
Analizuojant mokslinę literatūrą ir įvairius šaltinius ima ryškėti ribos ar bent
kiek aiškesni „performanso“, „performatyvumo“ ir „performanso meno“ sąvokų konceptualizavimo
skirtumai ir panašumai bei šių sąvokų vartojimo ypatybės. Galima teigti, kad performanso
menas vėl tampa vis daugiau žinomas Lietuvoje. Ši meno sritis kuriam laikui buvo dingusi iš
Lietuvos viešojo diskurso, tačiau pastaraisiais metais aktyviai vyksta net keli performanso meno
festivaliai, daug jaunų lietuvių studijuoja performanso meną užsienyje ir dalyvauja šios meno
srities edukacinėse ir kūrybinėse dirbtuvėse. Nepaisant to, vis dar egzistuoja performanso meno
apibrėžimo neaiškumų. Pilotiniu performanso meno lauko tyrimu siekiama atskleisti šių konceptualių
neaiškumų ir nesutarimų preliminarias priežastis ir pasekmes.
Bookmarks Related papers MentionsView impact
Master thesis, 2017
Performanso meno laukas, kartu su vizualiųjų menų lauku, Lietuvoje patiria itin didelę atskirtį, ... more Performanso meno laukas, kartu su vizualiųjų menų lauku, Lietuvoje patiria itin didelę atskirtį, nes yra
subordinuotas tiek meno, tiek kitų laukų atţvilgiu. Neretai performanso menas, apskritai, nėra laikomas meninio
diskurso dalimi. Galima manyti, jog tai vyksta dėl performanso meno apibrėţimo nesklandumų. Nors sąvokos
„performansas“ ir „performatyvumas“ naudojamos skirtinguose menuose, svarbu nepamiršti, kad jos taip pat plačiai
diskutuojamos ir sociologijoje, filosofijoje bei kitose disciplinose. Analizuojant mokslinę literatūrą ir įvairius šaltinius,
ima ryškėti šių sąvokų konceptualizavimo skirtumai ir panašumai bei jų vartojimo ypatybės. Šiame darbe, siekiama
išsiaiškinti kokiais bruoţais pasiţymi performanso menininkių kūniškasis hexis. Remiantis P. Bourdieu teorinėmis
prieigomis, pastaroji koncepcija išryškėja analizuojant santykį tarp performanso meno lauko ir šios meno srities
menininkių habitus.
Bookmarks Related papers MentionsView impact
Šiaurės Atėnai - , 2017
Bookmarks Related papers MentionsView impact