Farsa, forma y performance : discurso slapstick en el arte contemporáneo
|Author||Gómez Cremades, Ana María|
|Director||Martínez-Montiel, Luis F.|
|Department||Universidad de Sevilla. Departamento de Escultura e Historia de las Artes Plásticas|
|Document type||PhD Thesis|
|Abstract||This thesis questions the slapstick excessiveness as a fundamental key in today’s art
expression. Taking the figure of the silent clown as a strategist of the hysteria in postmodern
and contemporary context, the brutality ...
This thesis questions the slapstick excessiveness as a fundamental key in today’s art expression. Taking the figure of the silent clown as a strategist of the hysteria in postmodern and contemporary context, the brutality of the comedian in Mack Sennett’s films and his philosophy of disaster are the primary focus of our hypotheses. This research supports certain theories that determine “the absolute peak point of the art of cinema in the American slapsticks,” and oppose others that recognize the primitive American comedy as “a great era that concludes with the end of silent cinema.” In between, the grotesque in the form and performance art is the principal motivation of this investigation. In addition to Vattimo’s nihilism and weak thought, plus the absurd condition of the human factor, the silent comedy and contemporary art establish their connection via certain theories, such as Paul Ardenne’s contextual art or Hervé Fischer’s sociological theory, to reach the nonsense that science observe through the Theory of Chaos and Quantum Physics. A better understanding of the satiric and confusing landscape of slapstick aesthetic today, as well as its absurdity, noncommons sense and social significance, are the central goals of this dissertation.
|Cite||Gómez Cremades, A.M. (2017). Farsa, forma y performance : discurso slapstick en el arte contemporáneo. (Tesis Doctoral Inédita). Universidad de Sevilla, Sevilla.|