325:
38:
340:
subject's speaking role), confrontation activation (during the subject's speaking role, at which point their heart rate peaks) and release period (one minute after the conclusion of the subject's speech). The same physiological reactions can be experienced in other mediums such as instrumental performance. When experiments were conducted to determine whether there was a correlation between audience size and heart rate (an indicator of anxiety) of instrumental performers, the researcher's findings ran contrary to previous studies, showing a positive correlation rather than a negative one.
367:
253:
175:, a technique that emphasized the dynamic movements of artists as they splattered paint and other media on canvas or glass. For these artists, the motion of putting paint on canvas was just as valuable as the finished painting, and so it was common for artists to document their work in film; such as the short film Jackson Pollock 51(1951), featuring Pollock dripping paint onto a massive canvas on his studio floor.
90:
305:. Performance is also dependent on adaptation of eight areas: Handling crisis, managing stress, creative problem solving, knowing necessary functional tools and skills, agile management of complex processes, interpersonal adaptability, cultural adaptability, and physical fitness. Performance is not always a result of practice, but rather about honing in a skill. Over practicing itself can result in failure due to
73:
behavioral roles that are recognized in job descriptions and remuneration systems. They are directly related to organizational performance, whereas contextual performances are value-based and add additional behavioral roles that are not recognized in job descriptions and covered by compensation; these are extra roles that are indirectly related to organizational performance.
339:
Theatrical performances, especially when the audience is limited to only a few observers, can lead to significant increases in the performer's heart rate. This increase takes place in several stages relative to the performance itself, including anticipatory activation (one minute before the start of
119:
An effective performance is determined by the achieved skills and competency of the performer, also known as the level of skill and knowledge. In 1994, Spencer and McClelland defined competency as "a combination of motives, traits, self-concepts, attitudes, cognitive behavior skills (content
72:
In the work place, job performance is the hypothesized conception or requirements of a role. There are two types of job performances: contextual and task. Task performance is dependent on cognitive ability, while contextual performance is dependent on personality. Task performance relates to
206:
performance art. These carefully scripted one-off events incorporated the audience into acts of chaos and spontaneity. These happenings challenged traditional art conventions and encouraged artists to carefully consider the role of an audience. In Japan, the 1954
230:
during a film festival wearing a styrofoam box with a curtain over her chest. Bystanders were asked to put their hands inside the box and touch her bare chest. This commentary on women sexualization in film focused on the sense of touch rather than sight.
239:
streets with her outfit painted white and a sign across her chest that said "wet paint." She was interested in the invisible social and racial dynamics in
America and was determined to encourage civic-mindedness and interruption of the system.
316:, the best results are achieved when spontaneity and even improvisation are backed up by rational elements that arrange means of expression in a certain structure, supporting the communication (not just verbal) with the audience.
643:
Shippmann, Jeffery S.; Ash, Ronald A.; Batjtsta, Mariangela; Carr, Linda; Eyde, Lorraine D.; Hesketh, Beryl; Kehoe, Jerry; Pearlman, Kenneth; Prien, Erich P.; Sanchez, Juan I. (2000). "The
Practice of Competency Modeling".
244:, American artist, performed Interior Scroll in 1975, where she unrolls Super-8 film "Kitsch's Last Meal" from her genitals. This nude performance contributes to a discourse on femininity, sexualization, and film.
1188:
Noordzu, G., Hooft, E., Mierlo, H. et al. (2013). The effects of a learning-goal orientation training on self-regulation: A field experiment among unemployed job seekers. Personnel
Psychology, 66, 723–755.
1170:
Bell, B.S., & Kozlowski, S.W.J. (2008). Active learning: Effects of core training design elements on self regulatory processes, learning, and adaptability. Journal of
Applied Psychology, 93, 296–316.
63:
is an act or process of staging or presenting a play, concert, or other form of entertainment. It is also defined as the action or process of carrying out or accomplishing an action, task, or function.
211:
led by
Yoshihara Jiro, Kanayma Akira, Murakami Saburo, Kazuo Shiraga, and Shimamoto Shozo made the materials of art-making come to life with body movement and blurring the line between art and theater.
156:
groups, focusing on avant-garde poetry readings and live paintings meant to be viewed by an audience. It can be scripted or completely improvised and includes audience participation if desired.
183:, married avant-garde art with revolutionary politics to incite everyday acts of anarchy. The "Naked City Map" (1957) fragments the 19 sections of Paris, featuring the technique of
1182:
Lohman, M. (2002). Cultivating problem solving skills through problem based approaches to professional development. Human
Resource Development Quarterly, 13, 243–256.
923:
Smith, Jessi L.; Hardy, Tiffany; Arkin, Robert (2009). "When practice doesn't make perfect: Effort expenditure as an active behavioral self-handicapping strategy".
1176:
Freeman, S., Eddy, S., McDounough, M. et al. (2014). Active learning increases student performance in science, engineering, and mathematics. PNAS, 111, 8410–8414.
301:
Other related factors are: motivation to achieve success or avoid failure, task relevant attention, positive self-talk, and cognitive regulation to achieve
220:
is a performance of the artist rolling and moving in mud, using their body as the art-making tool, and emphasizing the temporary nature of performance art.
1185:
Meyer, R. (2002). Problem solving skills through problem based approaches to professional development. Human
Resource Development Quarterly, 13, 263–270.
120:
knowledge) that helps a performer to differentiate themselves as superior from the average performer". A performance also describes the way in which an
610:
Sonnentag, S & Frese, M. (2009). Dynamic
Performance. In S.W.J Kozlowski (Ed.), The Oxford Handbook of Industrial and Organizational Psychology
77:
performance, like contextual performance, relates to a set of individual activity/contribution (prosocial organizational behavior) that supports
1173:
Fadde, P.J., & Klein, G.A. (2010). Deliberate performance: Accelerating expertise in natural settings. Performance
Improvement, 49, 5-15.
907:
880:
595:
568:
541:
324:
74:
48:
753:
802:
680:
37:
1206:
1012:
Baldwin, Sandra (1980). "Effect of
Speakers' Sex and Size of Audience on Heart-Rate Changes During Short Impromptu Speeches".
112:. In instrumental music and drama, a performance is typically described as a "play". Typically, the performers participate in
191:
31:
1057:"Psychophysiological Activation During Preparation, Performance, and Recovery in High- and Low-Anxious Music Students"
226:, an Austrian artist born Waltraud Lehner, performed "Tap and Touch Cinema" in 1968. She walked around the streets in
728:
1201:
104:, a performance generally comprises an event in which a performer, or group of performers, present one or more
1140:
Brutten, Eugene (1963). "A Palmer Sweat Investigation of the Effect of Audience Variation Upon Stage Fright".
704:
272:
Williams and Krane define the ideal performance state as a mental state having the following characteristics:
187:
and abstraction of the traditional environment, deconstructing the geometry and order of a typical city map.
391:
631:
447:
160:
153:
78:
484:
1211:
1056:
43:
977:
Tangian, Andranik (1999). "Towards a generative theory of interpretation for performance modeling".
1216:
1179:
Gagne, R.M. (1962). Military training and principles of learning. American psychologist, 17, 83–91.
452:
401:
1122:
1087:
1037:
994:
851:
425:
241:
366:
252:
1079:
1029:
903:
897:
876:
843:
661:
591:
585:
564:
558:
537:
441:
328:
168:
531:
1149:
1114:
1071:
1021:
986:
959:
932:
835:
653:
619:
533:
Personnel Psychology and Human Resources Management: A Reader for Students and Practitioners
313:
261:
421:
172:
164:
145:
101:
950:
Tangian, Andranik (1997). "Performance interpretation by segmentation and its notation".
705:"Jackson Pollock 51: Short Film Captures the Painter Creating Abstract Expressionist Art"
184:
1105:
Maclntyre, Valerie (2010). "Heart Rate Variability as a Predictor of Speaking Anxiety".
657:
476:
416:
352:
89:
1195:
998:
899:
Work in the 21st Century: An Introduction to Industrial and Organizational Psychology
855:
396:
306:
289:
236:
213:
176:
1126:
1091:
1041:
777:
433:
386:
348:
302:
232:
223:
199:
144:
Another aspect of performance that grew in popularity in the early 20th century is
93:
1118:
870:
839:
506:
372:
257:
208:
125:
105:
990:
826:
Smith, Terry (September 2011). "Currents of world-making in contemporary art".
1153:
1075:
1025:
963:
936:
630:
Leuven University Press, Leuven 2018 (Orpheus Institute Series), pp. 115–133.
467:
362:
180:
847:
665:
203:
195:
133:
113:
52:
1083:
347:
of performers. Other physiological responses to public performance include
1033:
235:
and her performance Catalysis III (1970) featured the artist walking down
17:
410:
332:
129:
109:
343:
Heart rate shares a strong, positive correlation with the self reported
472:
462:
457:
344:
297:
A distortion of time and space where time does not affect the activity
381:
227:
587:
Performance Measurement: Current Perspectives and Future Challenges
406:
323:
265:
121:
88:
277:
149:
628:
Virtual Works – Actual Things: Essays in Musical Ontology.
584:
Winston Bennett; Charles E. Lance; David J. Woehr (2014).
754:"A Brief History Of "Happenings" and Their Impact on Art"
331:
performs the national anthem of the United States at a
288:
A sense of effortlessness and belief in confidence or
530:
Ivan T. Robertson; Cary L. Cooper (12 January 2015).
124:
performs. In a solo capacity, it may also refer to a
27:
Act of staging or presenting a form of entertainment
875:(4th ed.). Human Kinetics. pp. 156–57.
872:Essentials of Strength Training and Conditioning
869:Haff , G. Gregory; Triplett , N. Travis (2015).
148:. The origins of Performance art started with
8:
896:Frank J. Landy; Jeffrey M. Conte (2010).
803:"Adrian Piper: Performances and Activism"
681:"Adrian Piper: Performances and Activism"
1064:Applied Psychophysiology and Biofeedback
563:. John Wiley & Sons. pp. 240+.
251:
36:
498:
902:. John Wiley & Sons. p. 193.
590:. Psychology Press. pp. 115–116.
7:
560:IAAP Handbook of Applied Psychology
925:Journal of Research in Personality
658:10.1111/j.1744-6570.2000.tb00220.x
282:Not thinking about the performance
136:, magician, or other entertainer.
25:
116:beforehand to practice the work.
365:
355:, and increased blood pressure.
557:Paul R. Martin (1 March 2011).
49:Teresa Carreño Cultural Complex
1107:Communication Research Reports
778:"VALIE EXPORT Art, Bio, Ideas"
285:Adaptive focus on the activity
202:became involved in developing
192:New School for Social Research
1:
807:More Than Three Women Artists
685:More Than Three Women Artists
1119:10.1080/08824096.2010.496323
840:10.1080/21500894.2011.602712
752:Cain, Abigail (2016-03-12).
32:Performance (disambiguation)
952:Contemporary Theatre Review
507:"Definition of performance"
294:A sense of personal control
1233:
991:10.1177/102986499900300205
626:In: Paulo de Assis (ed.),
140:Aspects of performance art
29:
1154:10.1080/03637756309375363
1076:10.1007/s10484-014-9240-2
1026:10.2466/pr0.1980.46.1.123
964:10.1080/10486809708568438
937:10.1016/j.jrp.2008.10.004
733:homepages.phonecoop.coop
1055:Studer, Regina (2014).
801:kelseymt (2015-09-07).
679:kelseymt (2015-09-07).
536:. Wiley. pp. 24+.
41:A stage performance of
1207:Television terminology
448:Performance management
336:
269:
218:Challenging Mud (1955)
161:abstract expressionism
154:Russian constructivism
97:
79:organizational culture
56:
1014:Psychological Reports
485:participatory theatre
327:
255:
92:
40:
646:Personnel Psychology
30:For other uses, see
453:Performance science
402:Executive functions
351:, secretion of the
96:horseback musicians
337:
270:
256:English rock band
242:Carolee Schneemann
179:in France, led by
163:in the 1950s with
98:
68:Management science
57:
1142:Speech Monographs
979:Musicae Scientiae
909:978-1-4051-9025-1
882:978-1-4925-0162-6
597:978-1-317-82454-1
570:978-1-4443-9514-3
543:978-1-119-09060-1
329:Kristin Chenoweth
248:Performance state
169:Willem de Kooning
159:The emergence of
16:(Redirected from
1224:
1158:
1157:
1137:
1131:
1130:
1102:
1096:
1095:
1061:
1052:
1046:
1045:
1009:
1003:
1002:
974:
968:
967:
947:
941:
940:
920:
914:
913:
893:
887:
886:
866:
860:
859:
823:
817:
816:
814:
813:
798:
792:
791:
789:
788:
774:
768:
767:
765:
764:
749:
743:
742:
740:
739:
729:"The Naked City"
725:
719:
718:
716:
715:
701:
695:
694:
692:
691:
676:
670:
669:
640:
634:
620:Andreas Dorschel
617:
611:
608:
602:
601:
581:
575:
574:
554:
548:
547:
527:
521:
520:
518:
517:
503:
375:
370:
369:
314:Andranik Tangian
262:Hoyos del Espino
21:
1232:
1231:
1227:
1226:
1225:
1223:
1222:
1221:
1202:Performing arts
1192:
1191:
1167:
1165:Further reading
1162:
1161:
1139:
1138:
1134:
1104:
1103:
1099:
1059:
1054:
1053:
1049:
1011:
1010:
1006:
976:
975:
971:
949:
948:
944:
922:
921:
917:
910:
895:
894:
890:
883:
868:
867:
863:
825:
824:
820:
811:
809:
800:
799:
795:
786:
784:
776:
775:
771:
762:
760:
751:
750:
746:
737:
735:
727:
726:
722:
713:
711:
703:
702:
698:
689:
687:
678:
677:
673:
642:
641:
637:
618:
614:
609:
605:
598:
583:
582:
578:
571:
556:
555:
551:
544:
529:
528:
524:
515:
513:
505:
504:
500:
495:
490:
422:Performance art
371:
364:
361:
322:
250:
173:action painting
165:Jackson Pollock
146:performance art
142:
102:performing arts
87:
70:
35:
28:
23:
22:
15:
12:
11:
5:
1230:
1228:
1220:
1219:
1214:
1209:
1204:
1194:
1193:
1190:
1189:
1186:
1183:
1180:
1177:
1174:
1171:
1166:
1163:
1160:
1159:
1132:
1113:(4): 286–297.
1097:
1047:
1020:(1): 123–130.
1004:
985:(2): 237–267.
969:
942:
915:
908:
888:
881:
861:
834:(2): 171–188.
818:
793:
769:
744:
720:
696:
671:
652:(3): 703–740.
635:
624:Music as Play.
612:
603:
596:
576:
569:
549:
542:
522:
511:Dictionary.com
497:
496:
494:
491:
489:
488:
470:
465:
460:
455:
450:
445:
419:
417:Performativity
414:
404:
399:
394:
389:
384:
378:
377:
376:
360:
357:
353:adrenal glands
321:
318:
299:
298:
295:
292:
286:
283:
280:
260:performing in
249:
246:
141:
138:
86:
83:
69:
66:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
1229:
1218:
1215:
1213:
1210:
1208:
1205:
1203:
1200:
1199:
1197:
1187:
1184:
1181:
1178:
1175:
1172:
1169:
1168:
1164:
1155:
1151:
1147:
1143:
1136:
1133:
1128:
1124:
1120:
1116:
1112:
1108:
1101:
1098:
1093:
1089:
1085:
1081:
1077:
1073:
1069:
1065:
1058:
1051:
1048:
1043:
1039:
1035:
1031:
1027:
1023:
1019:
1015:
1008:
1005:
1000:
996:
992:
988:
984:
980:
973:
970:
965:
961:
957:
953:
946:
943:
938:
934:
930:
926:
919:
916:
911:
905:
901:
900:
892:
889:
884:
878:
874:
873:
865:
862:
857:
853:
849:
845:
841:
837:
833:
829:
822:
819:
808:
804:
797:
794:
783:
782:The Art Story
779:
773:
770:
759:
755:
748:
745:
734:
730:
724:
721:
710:
706:
700:
697:
686:
682:
675:
672:
667:
663:
659:
655:
651:
647:
639:
636:
633:
629:
625:
621:
616:
613:
607:
604:
599:
593:
589:
588:
580:
577:
572:
566:
562:
561:
553:
550:
545:
539:
535:
534:
526:
523:
512:
508:
502:
499:
492:
486:
482:
478:
474:
471:
469:
466:
464:
461:
459:
456:
454:
451:
449:
446:
443:
439:
435:
431:
427:
423:
420:
418:
415:
412:
408:
405:
403:
400:
398:
397:Entertainment
395:
393:
390:
388:
385:
383:
380:
379:
374:
368:
363:
358:
356:
354:
350:
346:
341:
334:
330:
326:
319:
317:
315:
312:According to
310:
308:
307:ego depletion
304:
296:
293:
291:
290:self-efficacy
287:
284:
281:
279:
275:
274:
273:
267:
263:
259:
254:
247:
245:
243:
238:
237:New York City
234:
229:
225:
221:
219:
215:
214:Kazuo Shiraga
210:
205:
201:
197:
194:in New York,
193:
188:
186:
182:
178:
177:Situationists
174:
170:
166:
162:
157:
155:
151:
147:
139:
137:
135:
131:
127:
123:
117:
115:
111:
107:
103:
95:
91:
84:
82:
80:
76:
67:
65:
62:
54:
50:
46:
45:
39:
33:
19:
1148:(2): 92–96.
1145:
1141:
1135:
1110:
1106:
1100:
1070:(1): 45–57.
1067:
1063:
1050:
1017:
1013:
1007:
982:
978:
972:
958:(4): 79–97.
955:
951:
945:
928:
924:
918:
898:
891:
871:
864:
831:
827:
821:
810:. Retrieved
806:
796:
785:. Retrieved
781:
772:
761:. Retrieved
757:
747:
736:. Retrieved
732:
723:
712:. Retrieved
709:Open Culture
708:
699:
688:. Retrieved
684:
674:
649:
645:
638:
627:
623:
615:
606:
586:
579:
559:
552:
532:
525:
514:. Retrieved
510:
501:
480:
437:
434:storytelling
429:
387:Choral music
349:perspiration
342:
338:
320:Stage fright
311:
303:automaticity
300:
271:
233:Adrian Piper
224:Valie Export
222:
217:
200:Allan Kaprow
189:
185:détournement
171:gave way to
158:
143:
118:
106:works of art
99:
94:Tang dynasty
71:
60:
58:
42:
1212:Personality
373:Arts portal
276:Absence of
258:Deep Purple
209:Gutai group
126:mime artist
75:Citizenship
61:performance
44:Don Quixote
1217:Stagecraft
1196:Categories
812:2019-11-24
787:2019-11-24
763:2019-11-21
738:2019-11-21
714:2019-11-21
690:2019-11-24
632:pdf online
516:2020-10-15
493:References
468:Stagecraft
181:Guy Debord
114:rehearsals
18:Performing
999:145716284
931:: 95–98.
856:191639109
848:2150-0894
828:World Art
666:0031-5826
204:happening
196:John Cage
53:Venezuela
1127:55686972
1092:43418025
1084:24477850
1042:20025236
411:operetta
359:See also
333:baseball
134:conjurer
130:comedian
110:audience
1034:7367532
473:Theater
463:Stadium
458:Recital
345:anxiety
190:At the
47:at the
1125:
1090:
1082:
1040:
1032:
997:
906:
879:
854:
846:
664:
594:
567:
540:
481:·
479:
438:·
436:
430:·
428:
426:poetry
392:Circus
382:Ballet
268:(2013)
228:Vienna
108:to an
55:(2013)
1123:S2CID
1088:S2CID
1060:(PDF)
1038:S2CID
995:S2CID
852:S2CID
758:Artsy
483:
442:dance
440:
432:
407:Opera
335:game.
266:Spain
122:actor
1080:PMID
1030:PMID
904:ISBN
877:ISBN
844:ISSN
662:ISSN
592:ISBN
565:ISBN
538:ISBN
477:Play
278:fear
198:and
167:and
152:and
150:Dada
85:Arts
1150:doi
1115:doi
1072:doi
1022:doi
987:doi
960:doi
933:doi
836:doi
654:doi
216:'s
100:In
51:in
1198::
1146:30
1144:.
1121:.
1111:27
1109:.
1086:.
1078:.
1068:39
1066:.
1062:.
1036:.
1028:.
1018:46
1016:.
993:.
981:.
954:.
929:43
927:.
850:.
842:.
830:.
805:.
780:.
756:.
731:.
707:.
683:.
660:.
650:53
648:.
622:,
509:.
309:.
264:,
132:,
128:,
81:.
59:A
1156:.
1152::
1129:.
1117::
1094:.
1074::
1044:.
1024::
1001:.
989::
983:3
966:.
962::
956:6
939:.
935::
912:.
885:.
858:.
838::
832:1
815:.
790:.
766:.
741:.
717:.
693:.
668:.
656::
600:.
573:.
546:.
519:.
487:)
475:(
444:)
424:(
413:)
409:(
34:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
