Multimedia Performance as a Form of Presentation of the Art of Music and Choreography in the Second Half of the 20th Century
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Abstract
The article is geared on understanding multimedia performance as one of the relevant forms of presentation of
contemporary art of music and choreography. Having taken shape in the artistic culture of the 1960s and having
subsequently become an alternative to traditional European ballet, multimedia performance has established itself
in the most recent history of musical theater as a synthetic phenomenon functioning at the boundary of genres and
forms of art. The term “multimedia performance” has a diffuse interpretation in musical-choreographic practice
and in scholarly works of art criticism. The ambiguity of the various interpretations and the absence of a unified
approach to the present phenomenon generate a broad argumentative field not limited to discussion of mere artistic
aspects of the issue. In this article the musical-choreographic multimedia performance is examined as a “live” form
of artistic production, i.e. generated during the course of the performance, in which most prominent is the study
of the bodily experience of the performer and the special reaction of the audience, presuming an impact on the
performer, among other things. At the center of the author’s attention lie the issues of creation of the “corporality”
of multimedia performance, its spatial-temporal solution and the formation of a sound milieu.
Keywords: the arts of music and choreography, multimedia performance, art and real life.
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