By illustrating the dialectical tensions in The Artist is Present, we consider the potential of the charismatic space not as generated through the seductive power or charm of an individual whose authority is tied to his/her ‘presence’, but as something co-produced within an ethical and relational space of trans-subjectivity. Ettinger calls a ‘matrixial encounter-event’: A relation of coexistence and compassion rather than dominance of self over other performer over spectator leader over follower. Here an alternative approach to conceiving of and facilitating a charismatic space is proposed which instead foregrounds what Bracha L. Seeking out methods of personal and emotional. The inimitable Serbian artist Marina Abramovi has long been fascinated by Brazilian mystical traditions. A bold and unsettling mystical voyage in the company of the fearless Serbian artist, as she travels Brazil in search of spiritual healing.
By examining the performance and its documentary traces in terms of dialectics we consider the political and ethical implications for how we think about power relations between artist/spectator in a neoliberal, market-driven art context. Based on issues raised by the autobiographical memoirs of the performing artist Marina Abramovic, this article seeks to discuss the transformative potential. The Space in Between Marina Abramovi and Brazil. Yet this is a space arguably constituted through a number of dialectical tensions and contradictions which, in dialogue with existing theatre scholarship on charisma, can be further understood by drawing on insights into charismatic leaders and charismatic authority in leadership studies. Here Abramović uses this term to describe the shared space in which performer and spectator connect bodily, psychically, and spiritually through a shared sense of presence and energy in the moment of performance. Within this context, the article examines the appearance of the term ‘charismatic space’ in relation to Marina Abramović’s retrospective The Artist is Present at New York’s Museum of Modern Art in 2010. While ‘charisma’ can be found in dramatic and theatrical parlance, the term enjoys only minimal critical attention in theatre and performance studies, with scholarly work on presence and actor training methods taking the lead in defining charisma’s supposed ‘undefinable’ quality. A woman (Marina Abramovic) traverses the Brazilian countryside searching for personal healing and artistic inspiration.
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