Performance - Wikipedia

A performance is an act of staging or presenting a play, concert, or other form of entertainment. It is also defined as the action or process of carrying ... Performance FromWikipedia,thefreeencyclopedia Jumptonavigation Jumptosearch Actofstagingorpresentingaformofentertainment Forotheruses,seePerformance(disambiguation). AstageperformanceofDonQuixoteattheTeresaCarreñoCulturalComplexinVenezuela(2013) Aperformanceisanactofstagingorpresentingaplay,concert,orotherformofentertainment.Itisalsodefinedastheactionorprocessofcarryingoutoraccomplishinganaction,task,orfunction.[1] Contents 1Managementscience 2Arts 3AspectsofPerformanceArt 4Performancestate 4.1Stagefright 5Seealso 6References 7Additionalreading Managementscience[edit] Intheworkplace,jobperformanceisthehypothesizedconceptionorrequirementsofarole.Therearetwotypesofjobperformances:contextualandtask.Taskperformanceisdependentoncognitiveability,whilecontextualperformanceisdependentonpersonality.[2]Taskperformancerelatestobehavioralrolesthatarerecognizedinjobdescriptionsandremunerationsystems.Theyaredirectlyrelatedtoorganizationalperformance,whereascontextualperformancesarevalue-basedandaddadditionalbehavioralrolesthatarenotrecognizedinjobdescriptionsandcoveredbycompensation;theseareextrarolesthatareindirectlyrelatedtoorganizationalperformance.[3]Citizenshipperformance,likecontextualperformance,relatestoasetofindividualactivity/contribution(prosocialorganizationalbehavior)thatsupportsorganizationalculture.[4][5] Arts[edit] Tangdynastyhorsebackmusicians Inperformingarts,aperformancegenerallycomprisesaneventinwhichaperformer,orgroupofperformers,presentoneormoreworksofarttoanaudience.Ininstrumentalmusicanddrama,aperformanceistypicallydescribedasa"play".[6]Typically,theperformersparticipateinrehearsalsbeforehandtopracticethework. Aneffectiveperformanceisdeterminedbytheachievedskillsandcompetencyoftheperformer,alsoknownasthelevelofskillandknowledge.In1994,SpencerandMcClellanddefinedcompetencyas"acombinationofmotives,traits,self-concepts,attitudes,cognitivebehaviorskills(contentknowledge)thathelpsaperformertodifferentiatethemselvesassuperiorfromtheaverageperformer".[7]Aperformancealsodescribesthewayinwhichanactorperforms.Inasolocapacity,itmayalsorefertoamimeartist,comedian,conjurer,magician,orotherentertainer. AspectsofPerformanceArt[edit] Anotheraspectofperformancethatgrewinpopularityintheearly20thcenturyisPerformanceart.TheoriginsofPerformanceartstartedwithDadaandRussianconstructivismgroups,focusingonavant-gardepoetryreadingsandlivepaintingsmeanttobeviewedbyanaudience.Itcanbescriptedorcompletelyimprovisedandincludesaudienceparticipationifdesired.[8] TheemergenceofAbstractexpressionisminthe1950swithJacksonPollockandWillemdeKooninggavewaytoActionpainting,atechniquethatemphasizedthedynamicmovementsofartistsastheysplatteredpaintandothermediaoncanvasorglass.Fortheseartists,themotionofputtingpaintoncanvaswasjustasvaluableasthefinishedpainting,andsoitwascommonforartiststodocumenttheirworkinfilm;suchastheshortfilmJacksonPollock51(1951),featuringPollockdrippingpaintontoamassivecanvasonhisstudiofloor.[9]SituationistsinFrance,ledbyGuyDebord,marriedavant-gardeartwithrevolutionarypoliticstoinciteeverydayactsofanarchy.The"NakedCityMap"(1957)fragmentsthe19sectionsofParis,featuringthetechniqueofDétournementandabstractionofthetraditionalenvironment,deconstructingthegeometryandorderofatypicalcitymap.[10] AttheNewSchoolforSocialResearchinNewYork,JohnCageandAllanKaprowbecameinvolvedindevelopingHappeningperformanceart.Thesecarefullyscriptedone-offeventsincorporatedtheaudienceintoactsofchaosandspontaneity.Thesehappeningschallengedtraditionalartconventionsandencouragedartiststocarefullyconsidertheroleofanaudience.[11]InJapan,the1954GutaigroupledbyYoshiharaJiro,KanaymaAkira,MurakamiSaburo,KazuoShiraga,andShimamotoShozomadethematerialsofart-makingcometolifewithbodymovementandblurringthelinebetweenartandtheater.KazuoShiraga'sChallengingMud(1955)isaperformanceoftheartistrollingandmovinginmud,usingtheirbodyastheart-makingtool,andemphasizingthetemporarynatureofperformanceart. ValieExport,anAustrianartistbornWaltraudLehner,performed"TapandTouchCinema"in1968.ShewalkedaroundthestreetsinViennaduringafilmfestivalwearingastyrofoamboxwithacurtainoverherchest.Bystanderswereaskedtoputtheirhandsinsidetheboxandtouchherbarechest.Thiscommentaryonwomensexualizationinfilmfocusedonthesenseoftouchratherthansight.[12]AdrianPiperandherperformanceCatalysisIII(1970)featuredtheartistwalkingdownNewYorkCitystreetswithheroutfitpaintedwhiteandasignacrossherchestthatsaid"wetpaint."ShewasinterestedintheinvisiblesocialandracialdynamicsinAmericaandwasdeterminedtoencouragecivic-mindednessandinterruptionofthesystem.[13][14]CaroleeSchneemann,Americanartist,performedInteriorScrollin1975,wheresheunrollsSuper-8film"Kitsch'sLastMeal"fromhergenitals.Thisnudeperformancecontributestoadiscourseonfemininity,sexualization,andfilm. Performancestate[edit] EnglishrockbandDeepPurpleperforminginHoyosdelEspino,Spain(2013) WilliamsandKranedefinethecharacteristicsofanidealperformancestate:[15] Absenceoffear Notthinkingabouttheperformance Adaptivefocusontheactivity Asenseofeffortlessnessandbeliefinconfidenceorself-efficacy Asenseofpersonalcontrol Adistortionoftimeandspacewheretimedoesnotaffecttheactivity Otherrelatedfactorsare:motivationtoachievesuccessoravoidfailure,taskrelevantattention,positiveself-talk,andcognitiveregulationtoachieveautomaticity.Performanceisalsodependentonadaptationofeightareas:Handlingcrisis,managingstress,creativeproblemsolving,knowingnecessaryfunctionaltoolsandskills,agilemanagementofcomplexprocesses,interpersonaladaptability,culturaladaptability,andphysicalfitness.[16]Performanceisnotalwaysaresultofpractice,butratherabouthoninginaskill.Overpracticingitselfcanresultinfailureduetoegodepletion.[17] AccordingtoAndranikTangian,thebestresultsareachievedwhenspontaneityandevenimprovisationarebackedupbyrationalelementsthatarrangemeansofexpressioninacertainstructure,supportingthecommunication(notjustverbal)withtheaudience.[18][19] Stagefright[edit] KristinChenowethperformsthenationalanthemoftheUnitedStatesatabaseballgame Theatricalperformances,especiallywhentheaudienceislimitedtoonlyafewobservers,canleadtosignificantincreasesintheperformer'sheartrate.Thisincreasetakesplaceinseveralstagesrelativetotheperformanceitself,includinganticipatoryactivation(oneminutebeforethestartofsubject'sspeakingrole),confrontationactivation(duringthesubject'sspeakingrole,atwhichpointtheirheartratepeaks)andreleaseperiod(oneminuteaftertheconclusionofthesubject'sspeech).[20]Thesamephysiologicalreactionscanbeexperiencedinothermediumssuchasinstrumentalperformance.Whenexperimentswereconductedtodeterminewhethertherewasacorrelationbetweenaudiencesizeandheartrate(anindicatorofanxiety)ofinstrumentalperformers,theresearcher'sfindingsrancontrarytopreviousstudies,showingapositivecorrelationratherthananegativeone.[21] Heartratesharesastrong,positivecorrelationwiththeselfreportedanxietyofperformers.[22]Otherphysiologicalresponsestopublicperformanceincludeperspiration,secretionoftheadrenalglands,andincreasedbloodpressure.[23] Seealso[edit] Artsportal Ballet Choralmusic Circus Entertainment Executivefunctions Opera(operetta) Performativity Performanceart(poetry ·storytelling ·dance) Performancemanagement Performancescience Recital Stadium Stagecraft Theater(Play ·participatorytheatre) References[edit] PerformanceatWikipedia'ssisterprojectsDefinitionsfromWiktionaryMediafromCommonsQuotationsfromWikiquoteDatafromWikidata ^"Definitionofperformance|Dictionary.com".www.dictionary.com.Retrieved2020-10-15. ^IvanT.Robertson;CaryL.Cooper(12January2015).PersonnelPsychologyandHumanResourcesManagement:AReaderforStudentsandPractitioners.Wiley.pp. 24+.ISBN 978-1-119-09060-1. ^PaulR.Martin(1March2011).IAAPHandbookofAppliedPsychology.JohnWiley&Sons.pp. 240+.ISBN 978-1-4443-9514-3. ^WinstonBennett;CharlesE.Lance;DavidJ.Woehr(2014).PerformanceMeasurement:CurrentPerspectivesandFutureChallenges.PsychologyPress.pp. 115–116.ISBN 978-1-317-82454-1. ^Sonnentag,S&Frese,M.(2009).DynamicPerformance.InS.W.JKozlowski(Ed.),TheOxfordHandbookofIndustrialandOrganizationalPsychology ^AndreasDorschel,MusicasPlay.In:PaulodeAssis(ed.),VirtualWorks–ActualThings:EssaysinMusicalOntology.LeuvenUniversityPress,Leuven2018(OrpheusInstituteSeries),pp.115–133.pdfonline ^Shippmann,JefferyS.;Ash,RonaldA.;Batjtsta,Mariangela;Carr,Linda;Eyde,LorraineD.;Hesketh,Beryl;Kehoe,Jerry;Pearlman,Kenneth;Prien,ErichP.;Sanchez,JuanI.(2000)."ThePracticeofCompetencyModeling".PersonnelPsychology.53(3):703–740.doi:10.1111/j.1744-6570.2000.tb00220.x.ISSN 0031-5826. ^kelseymt(2015-09-07)."AdrianPiper:PerformancesandActivism".MoreThanThreeWomenArtists.Retrieved2019-11-24. ^"JacksonPollock51:ShortFilmCapturesthePainterCreatingAbstractExpressionistArt".OpenCulture.Retrieved2019-11-21. ^"TheNakedCity".homepages.phonecoop.coop.Retrieved2019-11-21. ^Cain,Abigail(2016-03-12)."ABriefHistoryOf"Happenings"andTheirImpactonArt".Artsy.Retrieved2019-11-21. ^"VALIEEXPORTArt,Bio,Ideas".TheArtStory.Retrieved2019-11-24. ^kelseymt(2015-09-07)."AdrianPiper:PerformancesandActivism".MoreThanThreeWomenArtists.Retrieved2019-11-24. ^Smith,Terry(September2011)."Currentsofworld-makingincontemporaryart".WorldArt.1(2):171–188.doi:10.1080/21500894.2011.602712.ISSN 2150-0894.S2CID 191639109. ^Haff,G.Gregory;Triplett,N.Travis(2015).EssentialsofStrengthTrainingandConditioning(4th ed.).HumanKinetics.pp. 156–57.ISBN 978-1-4925-0162-6. ^FrankJ.Landy;JeffreyM.Conte(2010).Workinthe21stCentury:AnIntroductiontoIndustrialandOrganizationalPsychology.JohnWiley&Sons.p. 193.ISBN 978-1-4051-9025-1. ^Smith,JessiL.;Hardy,Tiffany;Arkin,Robert(2009)."Whenpracticedoesn'tmakeperfect:Effortexpenditureasanactivebehavioralself-handicappingstrategy".JournalofResearchinPersonality.43:95–98.doi:10.1016/j.jrp.2008.10.004. ^Tangian,Andranik(1997)."Performanceinterpretationbysegmentationanditsnotation".ContemporaryTheatreReview.6(4):79–97.doi:10.1080/10486809708568438. ^Tangian,Andranik(1999)."Towardsagenerativetheoryofinterpretationforperformancemodeling".MusicaeScientiae.3(2):237–267.doi:10.1177/102986499900300205.S2CID 145716284. ^Baldwin,Sandra(1980)."EffectofSpeakers'SexandSizeofAudienceonHeart-RateChangesDuringShortImpromptuSpeeches".PsychologicalReports.46(1):123–130.doi:10.2466/pr0.1980.46.1.123.PMID 7367532.S2CID 20025236. ^Studer,Regina(2014)."PsychophysiologicalActivationDuringPreparation,Performance,andRecoveryinHigh-andLow-AnxiousMusicStudents"(PDF).AppliedPsychophysiologyandBiofeedback.39(1):45–57.doi:10.1007/s10484-014-9240-2.PMID 24477850.S2CID 43418025. ^Maclntyre,Valerie(2010)."HeartRateVariabilityasaPredictorofSpeakingAnxiety".CommunicationResearchReports.27(4):286–297.doi:10.1080/08824096.2010.496323.S2CID 55686972. ^Brutten,Eugene(1963)."APalmerSweatInvestigationoftheEffectofAudienceVariationUponStageFright".SpeechMonographs.30(2):92–96.doi:10.1080/03637756309375363. Additionalreading[edit] Bell,B.S.,&Kozlowski,S.W.J.(2008).Activelearning:Effectsofcoretrainingdesignelementsonselfregulatoryprocesses,learning,andadaptability.JournalofAppliedPsychology,93,296–316. Fadde,P.J.,&Klein,G.A.(2010).Deliberateperformance:Acceleratingexpertiseinnaturalsettings.PerformanceImprovement,49,5-15. Freeman,S.,Eddy,S.,McDounough,M.etal.(2014).Activelearningincreasesstudentperformanceinscience,engineering,andmathematics.PNAS,111,8410–8414. Gagne,R.M.(1962).Militarytrainingandprinciplesoflearning.Americanpsychologist,17,83–91. Lohman,M.(2002).Cultivatingproblemsolvingskillsthroughproblembasedapproachestoprofessionaldevelopment.HumanResourceDevelopmentQuarterly,13,243–256. Meyer,R.(2002).Problemsolvingskillsthroughproblembasedapproachestoprofessionaldevelopment.HumanResourceDevelopmentQuarterly,13,263–270. Noordzu,G.,Hooft,E.,Mierlo,H.etal.(2013).Theeffectsofalearning-goalorientationtrainingonself-regulation:Afieldexperimentamongunemployedjobseekers.PersonnelPsychology,66,723–755. 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