By David A. Schlossman
This scholarly paintings appears on the factor of politics and function in the USA at the present time with specific consciousness paid to performances produced via activists, the NEA 4, and "Miss Saigon".
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Additional resources for Actors and Activists: Performance, Politics, and Exchange Among Social Worlds
Finley show that artists cannot look to the legal system to protect their freedom, cases from the Dred Scott case to Bush v. " 24 Actors and Activists Schacht v. United States offers empirical evidence that politics and performance-including mainstream, institutional performance worldscan and do influence one another. Yet, one need not look only to such dramatic events as a Supreme Court case to discover the interconnection of politics and performance. N o matter how much conservative aestheticians protest, performance institutions constantly interact with the rest of society.
To make this demand is to apply a standard of cause and effect to arenas (politics and social change) that inherently involve numerous effects that may be attributed to a multitude of causes. " In other words, though one can find empirical evidence of efficacious performance, it is wiser simply to note that the question of efficacy plagues all political activity, not just politically engaged performance. " Exchange Between A r t Worlds and Political Worlds 31 The efficacy debate epitomizes, I believe, a central problem for those who study politics and performance.
The State engages art worlds when it regulates property (as in the case of a contract or copyright dispute), when it responds to complaints that artists are creating a nuisance, or when it intervenes directly in the creation of art. When the State intervenes directly, it may support artistic work financially in a general desire to enhance the nation's reputation, or it may support only a certain kind of art, thereby "censoring" others through lack of support. Moreover, the State has a vested interest in "the propensity of its citizens to mobilize or be mobilized for collective action" and understands that both "high" and "popular" art affect the mobilization of citizens (Becker, Art Worlds 166).