28F

Rhythm 0, 1974

パフォマーとオーディエンスの関係の限界を試すためにAbramovićは彼女のもっとも挑発的な（そして最も有名な）パフォーマンスを行った。

彼女は自分に受動的な役割を与え、公衆を彼女に作用する力と化した。

テーブルの上に72種類のものを置き、誰でもそれを好きなように使ってよいという但し書きを付けた。

その中には喜びを与えることができるものと痛みや苦痛を与えるものとがあった。バラの花や蜂蜜、ホイップクリーム、ハサミ、メス、銃と銃弾などである。６時間の間、彼女は公衆の好きにさせた。最初のうちはオーディエンスは控えめに振る舞っていたが、時間が経つと（その間、彼女は受動的態度に徹していた）人々は攻撃的な行動をとりはじめた。

Abramovićが語るところによると「私が感じたのは…もしオーディエンスの好きにさせていたら、殺されかねないということ。私は暴力を受けたと感じた。服を切り裂いて、バラの刺をお腹に刺されて、ある人は銃で私の頭に狙いをつけた。別の人が取り上げたけど。攻撃的な雰囲気になっていた。丁度６時間で、私がオーディエンスに向かって歩き始めたら、皆走って逃げた。本当に対面するのを恐れてね。」

ragata:

Rhythm 0, 1974 To test the limits of the relationship between performer and audience, Abramović developed one of her most challenging (and best-known) performances. She assigned a passive role to herself, with the public being the force which would act on her. Abramović had placed upon a table 72 objects that people were allowed to use (a sign informed them) in any way that they chose. Some of these were objects that could give pleasure, while others could be wielded to inflict pain, or to harm her. Among them were a rose, a feather, honey, a whip, scissors, a scalpel, a gun and a single bullet. For six hours the artist allowed the audience members to manipulate her body and actions. Initially, members of the audience reacted with caution and modesty, but as time passed (and the artist remained impassive) people began to act more aggressively. As Abramović described it later: “What I learned was that… if you leave it up to the audience, they can kill you.” … “I felt really violated: they cut up my clothes, stuck rose thorns in my stomach, one person aimed the gun at my head, and another took it away. It created an aggressive atmosphere. After exactly 6 hours, as planned, I stood up and started walking toward the audience. Everyone ran away, to escape an actual confrontation.”