부산대학교 도서관

Summary: In the remaining chapters, I analyze in detail how specific artists have employed strategies of abstract treatment and the assertion of actuality as well as the perceptually disruptive consequences their artworks effect in spectators. I first explore the work of the Gutai artists working in Japan in the 1950s, positing that their works disrupt spectators' notions of time by creating traces of action reduced to forms. My next exploration considers four productions of the Living Theatre, whose pursuit of a sincere form of acting began with poetic texts, moved on to realistic portrayals and ended with a complete rejection of mimetic representation. The next chapter analyzes the impact of Elizabeth Streb's Pop Action choreographic structures on spectators' sensations of time, identity and authority. My final chapter, an examination of the insufficient poetic texts of Leslie Scalapino, considers whether it is possible to transform writing into action through non-representational performance.