In the context provided by Marina Abramovic, she differentiates between traditional theatre and performance art by emphasizing authenticity. She suggests that theatre often relies on illusion—actors pretend to cut themselves with a fake knife, spilling artificial blood, and their emotions are part of the scripted act rather than genuine feelings. In contrast, performance art aims for truth; if there is a real knife, it implies real danger, and any tears or blood are authentic expressions of emotion or pain.
Beyond its surface meaning, this statement by Abramovic touches on broader philosophical questions about authenticity and human experience in the arts. She challenges viewers to consider what constitutes genuine emotional expression and how art can truly connect with an audience. The essence of her argument suggests that performance art seeks to break down barriers between reality and fiction, offering a raw and unfiltered exploration of emotion and action. This approach not only questions the nature of artistic truth but also invites reflection on the role of vulnerability and risk in creating powerful, impactful works.
Marina Abramovic is a renowned performance artist known for her provocative and often physically demanding pieces that explore the boundaries between artist and audience, consciousness and unconsciousness. Born in Belgrade, Serbia (then part of Yugoslavia) in 1946, she has been a leading figure in the field of performance art since the early 1970s. Her work challenges conventional notions of what art can be, pushing both herself and her viewers to confront their perceptions of reality and emotional truth.
