Framing Abramovic : a performance artist’s use of body, space and technology

Abstract

The crux of Marina Abramović’s performances is the spectator’s responsiveness to the given situations in her work. Abramović, in the field of performance art, explores the blurring of boundaries between spectator and performer, boundaries (e.g. the proscenium arch) that have been established throughout the history of theatre as conventional modes of theatre-making. The aim of this dissertation is to discuss her application of three framing devices, namely the body, space, and technology. These devices will be seen as creating a focal point (i.e. frame) for her spectators, and an atmosphere for a more subjective and interactive reaction from her spectators. The three frames will highlight the choices Abramović makes in order to direct her spectators to experience her performances in a particular way. My discussion will involve a number of case-studies, including Rhythm 0, The Artist Is Present, her Transitory Objects, Thomas Lips, The House With an Ocean View, The Lovers: The Great Wall Walk, Balkan Baroque, and also Robert Wilson’s The Life and Death of Marina Abramović.