Fin

To conclude, all of the artists and their work illustrate the boundaries of performance art and comedy as well as the blurring lines in between. Abramovic's Rhythm 0-1974 is highly emotive, experimental and interactive. These elements are also key within The Artist is Present (2010) as without the audience the piece is nothing. This lends itself to Sparticus Chedwin's practice as the interaction is essential to creating the piece as the scripted lines are not enough to make the piece. However Bruce Nauman's practice is quite the opposite in reference to the need for an audience as he shot his early videos alone in his studio. But, his work like the others is again highly experimental. This element within performance is also true in Monty Python's sketches as well as Elanor Antin's miniature stage setups.

The main blurring of the boundaries of performance art and comedy was between the movement created within Bruce Nauman's Walking Around in an Exaggerated Manner (1967-8) and Monty Python's Mynistry of Silly Walks (1970). Without context and the conceptual thinking behind a performance art piece the work that they are working could be considered as acting different roles.

However, performance art is as real as it gets,

“The knife is real, the blood is real, and the emotions are real.”  http://www.askyfilledwithshootingstars.com/wordpress/?p=1197