Michael Fried Absorption And Theatricality PdfBy Leuco G. In and pdf 03.12.2020 at 02:51 8 min read
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Fried, Michael. The book recently put out by Gallimard brings together fewer writings, but the period it spans is longer: to This article, one of the most famous in the critical literature of the latter half of the 20th century, was written to defend the values of high-modernism that were under threat from Minimalism, also known as literalism, because it aimed to produce pieces that were nothing more than what they were. Unlike the modernist artwork which fuels the ambition to be able to exempt itself from a presentation, the way that minimalist art functions is stage-like. This kind of assertion never fails to come as a surprise: for the contemporary sensibility, theatre has almost become the paragon of art—the stage being understood as the relatively autonomous place of a complex-free illusionism.
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Fried is concerned that theatricality is a problem for painting and sculpture, which should instead absorb the spectator into transcendence. London, , pp. Spring blossoms brush against the house. Leaning over the. Absorption and theatricality: painting and beholder in the age of Diderot Michael Fried With this widely acclaimed work, Fried revised the way in which eighteenth-century French painting and criticism were viewed and understood.
Access options available:. This theoretical juxtaposition reveals, first, that the phenomenon Fried describes as "absorption" parallels a form of mimetic, bourgeois drama hegemonic in European theatre from the time of Diderot to Ibsen, and second, that Fried's concept of "theatricality" corresponds significantly to the notion of "allegory" developed in de Man's work. Fried's writings thus advance a theory of modernity organized around the rise and fall of mimesis in performance, one in which mimetic drama comes programmatically to eclipse allegory and theatricality during the Enlightenment, only to then fall into crisis around the turn of the twentieth century with the rise of modernism, understood as a moment marked by the reemergence of allegory and theatricality in the arts. In this way, Fried's views of theatricality overlap considerably with the origins of postdramatic theatre demonstrated influentially in theatre studies by Hans-Thies Lehmann, and these overlaps require our field to rethink now well-established positions on Fried and Lehmann alike. A new view of theatre history is required, one that accounts both for the emergence of supposedly postdramatic forms and for this general reappearance of theatricality and allegory in modern times. Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide.
Absorption and Theatricality: Painting and Beholder in the Age of Diderot Research Feed. Theatricality, Michael Fried and Nineteenth-Century Art and Theatre.
Absorption and Theatricality
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Fried's contribution to art historical discourse involved the debate over the origins and development of modernism. Along with Fried, this debate's interlocutors include other theorists and critics such as Clement Greenberg , T. Clark , and Rosalind Krauss. Since the early s, he has also been close to philosopher Stanley Cavell.
This project is a cross-disciplinary collaboration, encompassing the disciplines of Fine Art Practice, Art Theory and Experimental Psychology. The research focuses on exploring the relationship between historical and theoretical notions of modes of address defined as the ways in which relations between addresser and addressee are constructed in an image or text and psychological explorations of the act of spectatorship in pictorial art.
Journal of Dramatic Theory and Criticism
Works of art enchant us not because they are so natural but because they have been made so natural. And from this standpoint, the attraction of the still-life would seem to be obvious. No bowl of fruit runs the risk of looking self-conscious; no vase of flowers can be understood as posing for its audience. Fried gives two answers. The still-life cannot overcome it because it cannot acknowledge it. There is a sense, of course, in which this is equally true of all painting — how, without being chosen and depicted by the painter does anything ever get into a painting? The argument, in other words, is that the insistence on the unity of the painting and the insistence on the irrelevance of the beholder — and especially the opposition between the unity of the painting and the effort to affect the beholder — are all hallmarks of the formalist or absorptive critic, despite the fact that, as Fried reminds us, the effort to establish the unity of the painting must itself be understood as nothing but an effort to affect the beholder.
The book Absorption and Theatricality: Painting and Beholder in the Age of Diderot, Michael Fried is published by University of Chicago Press.