Photo courtesy of Bomb Magazine
The traditional connotations connected to museums and art galleries is often that they are places which are dull, boring and for either “smart” or “arty” people. Similarly theatre as a cultural institution may also be thought of in this respect by members of the public. Yet both industries are centered on an ideology which is accessible and enjoyed by all ages, genders, ethnicity and cultures; performance. The connection between theatre and performance is easily visible, theatres produce performance whether that is devised or text based for the general public. The connection between museums and art galleries and performance may be less obvious at first glance however it is the “common ground” (Bennett 2012, pp3) that the institutions share.
To first see the connection we must examine what performance is. Is performance simply the construction and presentation of elements such as plays, dances and music? Or it is something more than just the obvious suggestions? Performance is incredibly hard to define as “there are no clear boundaries” (Schechner 2002, pp171) to separate the performance of everyday life to the performances we see on stages. Furthermore, it is not just humans or animals that can perform but inanimate objects too. The objects within the museums and the art displayed in art galleries are therefore performing to an audience. The presentation of these collections, in particular the exhibitions in museums, are used to “perform the knowledge they create” (Bennett 2012, pp4). For example in our site, the display of the collections of tea sets, performs not only the function of being a) a collection and b) an aesthetically pleasing display but also presents an impression of a particular time period or of the characteristics and interests of the original owner. This is comparable to the way an actor on stage can be deconstructed, for example the costume the actor wears and the place or the way the actor stands presents a representation of the character without necessarily speaking – just like the design of the tea set and the way it is displayed. By the objects “performing” the knowledge there is an immediate sense of truth, the object’s performance supports the documentation that may be placed beside it; without the presence of the object, the documentation would simply be read as a statement lacking in physical evidence.
As both institutions share the same role “of providing entertainment and educational experiences” this does pose a significant issue for museums in particular. If we see a performance at the theatre, we often accept that it is a theatrical piece, not based in truth unless told otherwise. At a museum or art gallery an audience is more inclined to see this as a place which represents “the truth”. An example of where this “truth ideology” was exposed is in the performance piece “The Couple in the Cage” (1992) by Coco Fusco and Guillermo Gómez-Peña, in which two people were displayed in a cage as “authentic” aboriginal inhabitants. Many members of the audience believed in the performances authenticity as the site for this performance was within places regards as reputable sites. This showcases that in fact informative sites such as museum as only as “true” as the people who decide on its contents.
Works Cited
Bennett, S (2012) Theatre and Museums, Palgrave Macmillan
Bomb Magazine (1993) Coco Fusco and Guillermo Gomez-Pena [photograph] [online] http://bombsite.com/issues/42/articles/1599 [Accessed 19th February 2014]
Fusco, C, Gomez-Pena, G (1992) The Couple in the Cage [online] http://www.youtube.com/watch?v=gLX2Lk2tdcw [Accessed 19th February 2014]
Schechner, R (2002) Performance Studies: an Introduction, London: Routledge