Abstract
The 20th century is marked by colossal progress not only in science and technology, but also in art. Since the first half of 20th century there has been a gap observed between traditional and modern art. Modern art includes a variety of forums, biennale, museums of contemporary art, art space, etc. To date, performance is called all sorts of shows taking part in front of viewers. This can include the newfangled music shows, and various installations in museums, DJs sets in clubs and music festivals. Today, this art does not lag behind the rapidly developing communication industry, and at the same time resists the impact of technologies that help to distance people from each other. Performance, in spite of insufficient knowledge, is a popular type of contemporary art. Thus, the performance is introduced into the modern society, leaving behind itself food for reflection. The paper is of interest to researchers of contemporary art and the evolution of cultural phenomena in the 20th century. The work is based on a combination of historical methods, including historical-genetic and historical-comparative.
Highlights
Performance as a means of expression was recognized in the 60-70’s of 20th century in America
Dadaists are the forerunners of happenings and environmental events, as their actions were unplanned for the majority of cases, designed to stun the viewer, involving him/her in the co-creation process
An important element for the appearance of the performance was the aesthetics of the ready-made things
Summary
Performance as a means of expression was recognized in the 60-70’s of 20th century in America. Its "invention" is attributed to these years, mentioning that the origins come from representatives of Dada, who organized scandalous and shocking exhibitions, as well as from futurists, who were characterized by publicly stating manifestos and organizing futuristic evenings. Dadaists are the forerunners of happenings and environmental events, as their actions were unplanned for the majority of cases, designed to stun the viewer, involving him/her in the co-creation process. Deleuze writes that the first person who carried out the deconstruction of the text to the materials of his own consciousness and his own art was A. The French poet and one of the founders of symbolism strove to learn new things, to go beyond what is permissible, and expressed complete freedom of search
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