The diploma thesis elaborates four sound-expressive content elements, which, through performativity in the context of artistic aesthetics, potentially create the modernity of the performative sound. Placed in the post-dramatic staging dispositive, sound, as the primary element of analysis in the thesis, is described as a potentially problematic material phenomenon, especially when referring to the clear structure of sounds expression and specifying it in the form of artistic performance. From the existing practices in the theory of creating a theatrical performative in the realization of materiality through theatrical staging elements, the thesis deals with the perception dilemma of abstract or potentially unformed sound. Within the framework of artistic and aesthetic means, the sound performative has many substantial applicative areas from the everyday reference, that can implicate a new form of interpretative system. The disposition of the used methods of proving and comparing derives mainly from theorizations of historical artistic practices, which dealt with the idea of omnipresence of the sound in music, theater, etc.
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