‘Miss America’: the performance of the infinite-of-Taylor-Swift – 20/02/2020


In the movie, and in drive, the american singer, Taylor Swift, and reaffirms its continuing relevance as an artist, the phenomenon of the mass and the agent’s policy. His life is an integral part of, and inseparable from their work.

In his manifesto from 1966, the artist and theorist Allan Kaprow, a pioneer of performance art, which assumes that “art and life are fused together: the identity of each and every one of you is uncertain.” The boundary, therefore, between what we consider to be a work of art, and it is out of her life, for the rest, what is left is the increasingly smoky. It’s not just for the art if you made it in life, but in life, “if you refuse to do the same”.

I think too many Kaprow in “the living culture” in the theater of Artaud, and it makes you who you are” nietzcheano) after watching it for the second time in the “Miss Americana” (Netflix, 2020), directed by Lana Wilson. This is a documentary on Taylor Swift, which is full of images of “the intimate” of the performer in the behind the scenes – even though none of them retain any of the intimacy in the brightness, apparently inexhaustible supply of its resplendence. Because Taylor Swift is not a person in the back is a collection of songs are entirely autobiographical; it is the building itself.

Will I be charged for it. But I do believe that the existence of art and its outcomes autoficcionais, a device that is widely used for body art within the context of the performance art of the 1970s, and more contemporary artists such as Sophie Calle, Enrique Villa-Matas, and Mario Bellatin, you have found the the american singer the best.

The theoretical and Lucia Santaella, defines such performances to the space, where the physical being is, at the same time, the subject and the medium of aesthetic expression”. “The artists themselves are works of art,” he says.

And no one has ever managed to do anything like that – and for a lot of people at the same time, on an industrial scale, in the very heart of the capitalist empire – what did the Swift. Under the spotlight since childhood, she has surpassed that of musical genres (burst of the bubble in the country music of Nashville (where it arose), and went through a period of profound change in the music industry, from the hard disk to your tv by buying into fights with business owners misóginos, writers, and players such as Spotify and Apple. Up to now, has won all of them.

The show sticky-and the narratives, with arcs, the dramatic and the chorus are perfect, made up for it before 20 years ago, and which today sound a lot like the classic, the Swift has transformed the ups and downs of the stock exchange of the capital stock of his teenage years in collective experience, shared with hundreds of millions of people. As a New Yorker, published in 2011, and she has turned her angst of the teen in the game.

Its main difference to the main rival of the generation, it makes up its own songs since he was 12 years old, always in the way you want it to. Key autoficcional, ” transforming the everyday, and the love letters that opened the Miss america songs of the stadium. Grew up in the public eye, and you have created a relationship of mirroring is with the media, but their are dozens of cases that are exposed in the tabloids have turned into songs, which been stamped over the pages of the tabloids, as well as the controversies, fights, attacks, reputation, and, most recently, of his political position.

In the figure, media coverage of the Swift is a paratexto of their albums, and your life, is an integral part of, and inseparable from her work – box at the bottom is that this woman is in a state of performance, and that’s just it, what makes it such a phenomenon, post-human and the spectral.

The music is you: a glittering fortress of glass particles accumulated in the course of a long time among the echoes of folk music – one that protects them and exposes them, and the guard, at the same time. Grace, the devil’s in the tune! With a glare the ancient charm of the infant, such as a Jodie Foster in Taxi Driver is singing like Stevie Nicks – and that in turn is a lag Between ensandecida in a twinkling of d eye.

For those who are unable to listen to the music and the lyrics behind many of the arrangements of vocal music, american pop, which I can understand, I suggest you listen to the album in full on the disk, in 1989, of the Swift, by now cancelled out Ryan Adams ‘ – it’s no coincidence that this is the best album of his. I also made a playlist introdutóriaaqui.

The philosopher Slavoj Zizek gate, in his curious essay on David Lynch’s ” the end “of the neo-femme fatale tour’ to deal with the women in the films of the american director. In contrast to the femme fatale in classical, neo-femme fatale of the movies, However, it is clear according ?i?ek, is assumed, without any reservations, the role of a “calculating bitch”, “the perfect embodiment of what Baudrillard called the “transparency of evil”) and at the same time it keeps you on your puzzle. Sometimes, as in the paradox of the hegelian, the exposure to total, makes the subject even more mysterious. The strategy here is to seduce and deceive you to the truth, of course.

Maybe this is exactly what Swift tries to incorporate in his life-work, songwriting. Because there will be so many of us, valentine’s, or the fans, both men and women, and they are not able to accept it, it should be right there in the middle of this mess just as spectacular, some of the heart-of-gold-in order to be saved, a human being with any sense of empathy, and that manipulation of bitter cold it must be, surely, yes!”, some sort of defense mechanism. And, for all those traumas… It’s a chance to be the hero of the night. Or, for a young person of a type in the first few rows of the stadium with the wave of a pulseirinha of the LED is tied to the wrist.

The wording implied that whirlpool’s internal, ” writes Zizek, about the films of david Lynch, it would be something like, “why are you acting like a person on the cold and manipulative, when in fact you’re just a person with a cold and manipulative?”, as an in-joke from Freud’s work on the Warsaw and Lemberg. I would like to add “narcissist”. The truth is that people like this will always be one who is always rushing in to save them on their own.

Swift has done so with a considerable portion of mankind. His songs of love, hostage of your experience, they will seem to almost always be pictures of an almost-love – images in a mirror is opaque, which leads to another paradox: how you finish something that never started? They never started “for real”? (Even though it is very well remembered at all?) In a world where everyone lied all of the time, the truth sounds like a lie, and the distance between the two of you may be in for a dramatic roller coaster ride, as good as good as cocaine. Or oxytocin. But, until there is no more, there’s always the next day.

And then the next song would be Taylor Swift, of course. It did just 30 years ago, in December of last year.

*The writer and director, J. P. Cuenca is the author of five books, translated into eight languages. Her latest novel, I Discovered that he was dead, he was the winner of the Prêmio Machado de Assis da Fundação biblioteca Nacional, and gave birth to a full-length feature film on The death of J. P. Cuenca), which was shown in more than 15 international film festivals. He is currently living and working in São Paulo and Berlin. Follow us on Twitter, Facebook, and Instagram as @jpcuenca