(Does the) set of equivalences and oppositions (in theatre) in fact compose a rather intricate dramaturgy of sin and redemption?
Theatre accuses itself of rendering spectators passive and thereby betraying its essence as community action. It consequently assigns itself the mission of reversing its effects and expiating its sins by restoring to spectators ownership of their consciousness and their activity.
(Is) The theatrical stage and performance ... a vanishing mediation between the evil of spectacle and the virtue of true theatre?
They intend to teach their spectators ways of ceasing to be spectators and becoming agents of a collective practice...
According to the Brechtian paradigm, theatrical mediation makes them conscious of the social situation that gives rise to it and desirous of acting in order to transform it. According to Artaud’s logic, it makes them abandon their position as spectators: rather than being placed in front of a spectacle, they are surrounded by the performance, drawn into the circle of action that restores their collective energy. In both cases, theatre is presented as a mediation striving for its own abolition.
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