行为艺术英文

action art

应该是behavior artanction art更多是指影片中的动作艺术，比如说动作电影action movieperformance art应该叫表演艺术更确切一些

毛泽东的。虽然长点，但是没有难的词汇 Mao Zedong (Mao Tse-Tung), the son of a peasant farmer, was born in Chaochan, China, in 1893. He became a Marxist while working as a library assistant at Peking University and served in the revolutionary army during the 1911 Chinese Revolution. Inspired by the Russian Revolution the Chinese Communist Party (CCP) was established in Shanghai by Chen Duxiu and Li Dazhao in June 1921. Early members included Mao, Zhou Enlai, Zhu De and Lin Biao. Following instructions from the Comintern members also joined the Kuomintang. Over the next few years Mao, Zhu De and Zhou Enlai adapted the ideas of Lenin who had successfully achieved a revolution in Russia. They argued that in Asia it was important to concentrate on the countryside rather than the towns, in order to create a revolutionary elite. Mao worked as a Kuomintang political organizer in Shanghai. With the help of advisers from the Soviet Union the Kuomintang (Nationalist Party) gradually increased its power in China. Its leader, Sun Yat-sen died on 12th March 1925. Chiang Kai-Shek emerged as the new leader of the Kuomintang. He now carried out a purge that eliminated the communists from the organization. Those communists who survived managed to established the Jiangxi Soviet. The nationalists now imposed a blockade and Mao Zedong decided to evacuate the area and establish a new stronghold in the north-west of China. In October 1934 Mao, Lin Biao, Zhu De, and some 100,000 men and their dependents headed west through mountainous areas. The marchers experienced terrible hardships. The most notable passages included the crossing of the suspension bridge over a deep gorge at Luting (May, 1935), travelling over the Tahsueh Shan mountains (August, 1935) and the swampland of Sikang (September, 1935). The marchers covered about fifty miles a day and reached Shensi on 20th October 1935. It is estimated that only around 30,000 survived the 8,000-mile Long March. When the Japanese Army invaded the heartland of China in 1937, Chiang Kai-Shek was forced to move his capital from Nanking to Chungking. He lost control of the coastal regions and most of the major cities to Japan. In an effort to beat the Japanese he agreed to collaborate with Mao Zedong and his communist army. During the Second World War Mao's well-organized guerrilla forces were well led by Zhu De and Lin Biao. As soon as the Japanese surrendered, Communist forces began a war against the Nationalists led by Chaing Kai-Shek. The communists gradually gained control of the country and on 1st October, 1949, Mao announced the establishment of People's Republic of China. In 1958 Mao announced the Great Leap Forward, an attempt to increase agricultural and industrial production. This reform programme included the establishment of large agricultural communes containing as many as 75,000 people. The communes ran their own collective farms and factories. Each family received a share of the profits and also had a small private plot of land. However, three years of floods and bad harvests severely damaged levels of production. The scheme was also hurt by the decision of the Soviet Union to withdraw its large number of technical experts working in the country. In 1962 Mao's reform programme came to an end and the country resorted to a more traditional form of economic production. As a result of the failure on the Great Leap Forward, Mao retired from the post of chairman of the People's Republic of China. His place as head of state was taken by Liu Shaoqi. Mao remained important in determining overall policy. In the early 1960s Mao became highly critical of the foreign policy of the Soviet Union. He was for example appalled by the way Nikita Khrushchev backed down over the Cuban Missile Crisis. Mao became openly involved in politics in 1966 when with Lin Biao he initiated the Cultural Revolution. On 3rd September, 1966, Lin Biao made a speech where he urged pupils in schools and colleges to criticize those party officials who had been influenced by the ideas of Nikita Khrushchev. Mao was concerned by those party leaders such as Liu Shaoqi, who favoured the introduction of piecework, greater wage differentials and measures that sought to undermine collective farms and factories. In an attempt to dislodge those in power who favoured the Soviet model of communism, Mao galvanized students and young workers as his Red Guards to attack revisionists in the party. Mao told them the revolution was in danger and that they must do all they could to stop the emergence of a privileged class in China. He argued this is what had happened in the Soviet Union under Joseph Stalin and Nikita Khrushchev. Lin Biao compiled some of Mao's writings into the handbook, The Quotations of Chairman Mao, and arranged for a copy of what became known as the Little Red Book, to every Chinese citizen. Zhou Enlai at first gave his support to the campaign but became concerned when fighting broke out between the Red Guards and the revisionists. In order to achieve peace at the end of 1966 he called for an end to these attacks on party officials. Mao remained in control of the Cultural Revolution and with the support of the army was able to oust the revisionists. The Cultural Revolution came to an end when Liu Shaoqi resigned from all his posts on 13th October 1968. Lin Biao now became Mao's designated successor. Mao now gave his support to the Gang of Four: Jiang Qing (Mao's fourth wife), Wang Hongwen, Yao Wenyuan and Zhange Chungqiao. These four radicals occupied powerful positions in the Politburo after the Tenth Party Congress of 1973. Mao Zedong died in Beijing on 9th September, 1976.

Performance Art

Action Arts

all english?I don’t no

行为艺术行为艺术，也称行动艺术、身体艺术、表演艺术等，国外目前通用的用法是Performance Art，它是在以艺术家自己的身体为基本材料的行为表演过程中，通过艺术家的自身身体的体验来达到一种人与物、与环境的交流，同时经由这种交流传达出一些非视觉审美性的内涵。概述行为艺术，是20世纪五、六十年代兴起于欧洲的现代艺术形态之一。它是指艺术家把现实本身作为艺术创造的媒介，并以一定的时间延续。特定的环境和含义为依托而进行艺术创造活动的艺术形态。行为艺术相较于架上绘画、传统雕塑等艺术注重艺术行为的结果留存而言，它更是强调、注重艺术家的行为过程意义，是典型的具有表演性特征的过程艺术形态。作为行为艺术家，大多坚信——艺术家个人的艺术创造自由。创作体验只能通过开放性的。即兴的、无情节而与生活融为一体的艺术创造实践活动才能够获得和实现。因此，行为艺术具有；开放的情感表演性特征。即行为艺术家不是象架上绘画艺术家那样多数时间是把自己关在室内“孤寂’地进行自己的艺术创作工作。而是在开放的时空环境里——街头、广场……等场所，将自己即时奔放的情感予以当众释发宣泄，并注重和强调展示行为过程的质量度。因此，行为艺术没有完形的如架上绘画那样的结果留存；行为过程就是其作品的全部所在。其次，艺术泛化性特征。行为艺术家以自己特有的艺术创造行为过程展示，把传统艺术从高不可攀的、精英文化高度的神圣殿堂，摆放到了普通观众心目中的“不过如此”的“平淡”状态。尤其在有的作品中，还请一般观众参与，这就更消解了艺术家与观众之间的心理距离。增强了观者对艺术创造行为的认同感，同时，行为艺术强调的是行为过程，这在客观上，就把艺术注重行为结果的单一视域拓展到了充分认识、注重艺术行为过程的领域。从而有助于人们完整地认识人类艺术整体行为的，合乎艺术规律性和目的性的发展运动。最后，行为艺术具有平凡中的艺术深刻性特征。即是说，行为艺术是行为艺术家“有意味的”行为过程展示艺术。我们讲行为艺术打破了“艺术与非艺术”、“艺术与生活”的传统界线，行为艺术家曾邀请观众参与到其具体作品中去共同创造艺术作品。行为艺术其实也就是当代实验艺术中的一种类型，但是，由于近一二年来，有一些在视觉上比较"刺激"的行为艺术作品被冠上"病态"、"血腥"、"暴力"等称谓之后，不仅在"圈"内，同时在社会上也引起了很多争议。在这个过程中，由于"行为艺术"的现场性、直接性的特点，在事后仅仅靠几张照片很难来完整地反映某个作品的具体实际情况，所以难免会引起别人对于行为艺术理解的片面性。关于"行为艺术"的讨论进行到现在，已经在艺术界和社会范围内引起了一定的反响。但是，问题的关键是在这场讨论中，我们的一些大众媒体包括一些专业刊物在这场讨论中一直没有对所谓的"行为艺术"进行客观、公正、全面的介绍，道听途说、以偏概全式的报道误导了大众包括一些专业人士对于"行为艺术"的了解。我们要客观、公正地讨论这些艺术现象，就必须要提供给业内人士包括一些对前卫艺术有兴趣的网友全面了解这些作品以及与"行为艺术"有关的评论文章和知识背景，这对于我们冷静、理性地对这一现象进行评论会有所帮助。行为艺术的鼻祖是一名叫科拉因的法兰西人。1961年，他张开双臂从高楼自由落体而下，这称作人体作笔。行为艺术采取很夸张的表现手法，用行为来表达人对世界的看法。这些行为有的是美的，有的是丑的，但不是人在正常状态下有的。自行为艺术出现在中国以来，由于和中国人的审美观、道德观以及社会传统反差较大，始终是人们争论的焦点，在“行为艺术”的发展中部分创作者更以自虐、伤害、鲜血等极端行为作为表达的主要方式，直接挑战人性和道德的极限。我们在这里列举，希望可以拓宽我们对于艺术、人的生活乃至生命的思考。行为艺术在中国所谓行为艺术是一种艺术家用思维和行为过程来进行创作的艺术形式，现代行为艺术兴起于西方，是西方当代社会的一个奇特现象，行为艺术在本质上可以定义为一种自由的生命活动。中国的行为艺术是中国艺术现代化进程中向西方拿来的一种艺术形式，从1985年新潮美术时期�（1985—1989） 它就已出现。这一时期宋永平、宋永红兄弟的“一个场景的体验”、丁乙等人的“街头布雕”等具有行为展演倾向的艺术活动，普遍采用包扎或自虐的方式，这与80年代年轻艺术家企图通过反文明、反艺术的手段来求得精神自由的价值取向有关，透露出对“文革”、对精神压抑的反抗，表达了艺术家寻求思想解放的时代愿望。90年代行为艺术90年代行为艺术大致可以分为两种：一种是由艺术家参与社会活动的行为过程，一种是艺术家展现自身生存生活状态的行为活动。第一种往往是规模较大、参与人数较多、涉及面较广的社会性行为，例如有一群艺术家从大都市来到贫困山区，在老乡家的炕头上创作，用来表达艺术家们厌恶商业文化希冀回归自然的心态，这整个过程就是一项行为艺术；一个名为“新历史小组”的团体出售自制的“集邮牛仔服”和著名企业家肖像画，用来说明消费时代艺术家与艺术欣赏者的关系；更有人把成千上万的红伞挂在公园的树上，让游人漫步其中，使观众成为行为艺术的一部分。或许您在不经意间也搞了一把行为艺术呢。但是这种行为艺术在进入日常生活的同时，也往往受社会、市场、公共秩序甚至法律的限制，所以这种行为艺术目前很难举行大规模的活动。第二种形式，因为是艺术家展现自己生存生活状态的行为艺术，所以越来越成为行为艺术家热衷的形式和手段之一，结果就有了赵半狄与玩具熊猫就环保问题展开对话；舒勇在情人节找花草树木谈情说爱；王晋与一头骡子结婚等千奇百怪、层出不穷的行为艺术与行为艺术家。在当下这个多元文化的时代，行为艺术作为艺术的一种形式，理所当然地进入了我们的生活，但当生活被艺术家们作为艺术呈现在我们面前时，却又是那么出忽我们意料，甚至远远超越了我们对常态生活的理解，猛烈地撞击着我们感官和精神的承受极限。他们用艺术的方式对我们的生活进行追问：我们是谁？我们在干什么？我们要往何处去？但同时我们也对艺术的底线提出了巨大的疑问自己用英语翻译去吧!